‘Thank God, despite everything we carry on laughing,’ booms George, self-proclaimed head of the Hampton family, losing his City job in a whirl of caviar, champagne and ‘God Save the Queen’. Yet as this play unfolds, his mantra becomes a plea rather than assurance, as we witness the demise of his crumbling marriage and country.
David Pinner’s 1976 play powerfully demonstrates how the patriotic clichés of our literary tradition can become a veritable lifeline for the diehard Anglocentric. But in a changing world of sexual and economic depression, they satisfy only George. Pinner’s dialogue is intelligent and witty, although some of his points are laboured.
Conversations between father and son, all innuendo and probing sexual threats, are repetitive, and initially drag. It is a sultry Antonia, (Natalie Lesser) who brings credibility, moving her attentions effortlessly from father to son and adding real frisson to the scenes. The historical context, too, is a touch heavy-handed – a German lodger’s comments about East and West and a radio announcement of Thatcher’s election feel too self-conscious – although the audience is bound to savour the significance of banking crises and student riots.
As George, the energetic Peter Broome delivers his reams of sexist, imperialist and racist quips with real zest, although his phrasing occasionally stumbles. The play is propelled breathlessly forward, but the characters have greatest clarity and pathos when they are alone. Despite some topical moments, Pinner’s play – now staged for the first time – mainly serves as a reminder of how far England has come in 35 years.