Periodically during Graham Greene’s
play, elderly Aunt Teresa crosses the stage to use the bathroom,
pretending to be oblivious to all goings-on until she has once again
left, upon which she may re-enter immediately with an expression of
faux-innocence. Given that the tiny Jermyn Street Theatre’s toilets are
indeed accessed across the stage, this feels cheekily like art
imitating life. However, this is small beer in the collection of the
Browne family’s idiosyncrasies, chief amongst which is closing each
room in which a member of the household has died (yes, that title is
significant), so that in a huge house there is now barely enough space
for the three elderly inhabitants and their new arrival, recently
orphaned 20-year-old great-niece Rose.
When it becomes apparent that Rose is having an affair with married
45-year-old psychology lecturer Michael, the keystone of the family’s
life assumes its full weight. One hesitates to describe Catholicism as
another “idiosyncrasy”, but as practised by Aunt Helen, who would
rather dedicate herself to ruining several earthly lives than risk an
immortal soul, it becomes an instance of religious belief at its most
unreasoning, a mere pretext for natural authoritarianism. More
honourable is the literal soul-searching of wheelchair-bound Father
James Browne.
This is Greene at his most introspective, using the human drama as an
excuse to debate his own beliefs and uncertainties; Greene’s Brownes
(ha) are clearly authorial surrogates, and in some cases far from
generous ones. It is frankly unsurprising that the play should have
lain unrevived for 60 years since its première. Tom Littler’s
production for Primavera is accomplished, and taps into the mood of the
work: Tuppence Middleton may be a little over-vexed as Rose, or it
might be deliberate characterisation, but Christopher Timothy’s Father
James is thoughtful and conscientious, and Caroline Blakiston and Diane
Spencer sterling as his sisters. Designer Cherry Truluck skilfully
turns the cramped basement of Jermyn Street into the cramped attic of
the Brownes’ house. Nevertheless, this is principally a man not even
talking to his God but talking to himself
about his God. I suppose the
Catholic Church’s current relationship with sexual morality gives this
revival a topicality of sorts, but not one which is in any way
charitable towards the Church, still less as the piece never truly
calls into question Greene’s bedrock of loyal faith.
Written for the Financial
Times.