J.B. Priestley’s 1934 comedy of errors marches down the Donmar Warehouse aisle as three highly respected Yorkshire couples’ lives are turned on their heads in charmingly funny fashion. Revived for the stage by director Tim Sheader, When We Are Married is an undeniably pleasant watch that sees the couples, all married on the same morning at the same church 25 years prior, discover that their marital bliss might not be as it seems. While not the most inspired production, the show remains a hugely enjoyable watch and has more than enough laughs to keep any audience entertained.
It’s a thoroughly entertaining premise that translates well enough, even almost a century later, largely because in many ways the script is ahead of its time. Priestley cleverly satirises the very institution of marriage, asking his audience to question just how arbitrary a certificate can be in proportion to how it changes the behaviour within a couple. The script is full of witty lines, funny misunderstandings, and even a contemporary needle drop that went down a treat with the Donmar Warehouse audience.
The production is backed up by some stellar set design and costuming choices, featuring decadent golds, opulent furniture, and outfits that make the cast look like every bit the pillars of their community they are. It’s the classic setting for a period piece such as this, and you can see that everything you see on stage is carefully picked out and well thought out.
Of course, one of the biggest things that When We Are Married has going for it is its talented cast, filled to the brim with decades of acting experience. Every actor brings their A-game, injecting their own character quirks into the proceedings as each of them is confronted with the truths that they had hoped to keep buried for more than 25 years. One would be hard-pressed to name just one standout performer within the cast; whether it’s Janice Connolly’s rebellious hired hand, Mrs Northrop; Jim Howick’s beleaguered Herbert, who spends the second act slowly re-discovering his teeth; or Tori Allen-Martin’s Lottie, who injects even more chaos with an assured performance. To list the immense contributions of the cast would be a mammoth task, as there are simply no weak links to be found in this ensemble.
Although the production plays it fairly safe, When We Are Married still provides ample fun with a healthy dose of Shakespearean farce, coated in Northern charm. While the narrative wraps up a bit too neatly, and the second act of the show doesn’t seem interested in mining the full potential of the premise, it’s difficult to feel dissatisfied with what we’re given. With great performances, a script packed with humour, and relatable satire, the production is a lovely helping of festive comedy.
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