The third and final act of
Love, Love, Love
is as fine a piece of work as author Mike Bartlett has done. However, I
spent much of the preceding two in anxious perplexity, wondering what I
was missing in this play, so lauded on its opening in Plymouth last
autumn and now touring for Paines Plough until the end of May.
Act
One: 1967, the summer of love, and excited, wannabe-liberated Oxford
student Kenneth is avoiding spending the long vacation with his parents
by hiding in his strait-laced, sullen brother Henry’s flat. When
Henry’s “bird” Sandra visits, she clicks with Kenneth instead. Act Two:
1990, Kenneth and Sandra are too busy bickering about the state of
their marriage to pay much attention to the upbringing of 14-year-old
smart brat Jamie and 16-year-old neurotic birthday girl Rosie. Act
Three: 2011, Rosie calls her now divorced parents together (while
mentally ill Jamie avoids the family meeting) to indict them for their
selfishness and demand they buy her a house.
Described
thus, it is the last act which sounds the most factitious, but this is
where Bartlett and director James Grieve’s earlier crass
characterisations finally acquire depth. It is audacious to confront
these ageing children of the Sixties by asserting that actually it
is
all about money: the money their generation enjoyed, continued to enjoy
and are not now passing on. But when the point has been prepared by a
clutch of so cartoonishly broad characterisations, its potential
genuine substance is fatally undermined. Kenneth is fluently feckless,
Henry a resentful petit-bourgeois (a different class even from his
brother), Sandra an initially groovy but persistently braying
proto-Sloane, Jamie and Rosie a stereotypical teenage boy and girl
respectively. This is not the deft, economical sketching of a master,
capturing his subject in a few eloquent strokes of the pen; it is
crayon-in-fist work.
At this moment
in global financial history when, arguably, the Sixties generation’s
blank cheques are being presented for redemption but not honoured, the
play appears to have a real, substantive case to make. It may even be
right. But when it goes up against mere straw men of its own devising,
we may never know the truth. Nor care.
Written for the Financial
Times.