Just Between Ourselves at Derby Theatre
A London Classic Theatre production
13th May 2025
Critically acclaimed contemporary playwright Sir Alan Ackbourn has written more than eighty dramas for the stage, most of them comedic in nature, since his first piece – cryptically entitled The Square Cat – captured the imaginations of a grateful Scarborough audience back in 1959. Just Between Ourselves is widely regarded as his bleakest offering, written during a particularly harsh and depressing northern winter in 1976. Seemingly a tale of suburban domesticity akin to the televisual delights of those days (think George and Mildred meets Terry and June), the drama revolves around the lives of two couples and their developing relationships with each other. It is 1976, and near neighbour Neil (Joseph Clowser), calls to the home of Dennis (Tom Richardson) and Vera (Holly Smith) with a view to buying their past-its-best car which is up for sale. Neil does not drive, but wishes to gift the car to his wife Pam (Helen Phillips) in order that she might have more “freedom.” As friendships are forged, marital secrets are shared twixt the couples, ‘‘just between ourselves’’. There are four scenes, and each scene just so happens to take place on the birthday of at least one of the characters.
The action takes place almost entirely within the confines of Dennis’ garage. Set designer Elizabeth Wright has given the stage a beautiful look and feel to set the tone of the piece. The space is functional but cluttered, full to the brim with half finished odd-jobs and broken pieces of tat accumulated over many years. The space is chaotic and dysfunctional, much like the inner lives of the characters who meet therein. The centrepiece is of course the beautiful Jade green Mini, a thing of absolute beauty. Constructed of fibreglass by designer Tristran White, and decked out with genuine interior fixtures sourced by production manager Helen Samways, it really does draw the eye. Costume, fabric and other design items all decidedly scream the 1970’s. It feels like we’ve stepped back in time. Kudos also to Clare O’Donoghue for lighting – the piece is stunningly well illuminated throughout.
Richardson’s Dennis carries the action from the off, a man of irritatingly jovial insensitivity and depressingly low standards, every bit the used car salesman at the opening of the play. His constant belittling of Smith’s Vera chips away at her sense of self and inner peace with devastatingly destructive force. This is a relationship of the most toxic nature, and these two performers work beautifully together, the latter giving an absolutely heart rending and pitch perfect portrayal of the character’s slow descent into despair and oblivion.
Clowser’s Neil brings some fabulously delivered comic relief, describing his deteriorating relationship with his wife thus: “Women need a rock; I’m more of a marshmallow.” His inflection and line placement is matchless. Phillips’ Pam simmers and broods – every enunciation heartfelt. Kudos to Connie Walker too, giving a nightmarish mother-in-law performance that would make Les Dawson proud.
Ayckbourn once said that he’d never opt for a happy ending if the dramatic circumstances didn’t justify it. Here, we see the full force of this adage played out. The subject matter doesn’t exactly make for a cheery night out, nor does the ending leave you skipping back to the car. That notwithstanding, this is a piece that gives us a very interesting insight into 1970’s society, particularly around the issues of abusive marriage, fidelity and mental ill health. The play shifts back and forth in tone from the jovial and jaunty to the unsettling and dystopian. It’s a play that is very much wrapped up in 70’s attitudes (emphasized by the beautiful design) yet still capable of speaking to a modern audience. All that, and served up by a top notch cast at the top of their game. Just between ourselves – I’d say it’s well worth seeing.
