Laura Wades’ comedy drama takes a fresh look into living out one’s life in a fantasy world and the repercussions of doing so, especially the effect that immersing oneself in a past time period when things were allegedly nicer, simpler, cleaner, the sun was always shining, the milk man was always whistling, the grass was greener and being a stay-at-home cake baking housewife was the norm for many British women. When was this happy living magical time? According to Judy and Johnny Martin, the husband and wife in ‘Home, I’m Darling’, it was the 1950s. As Laura Wade juxtaposes modern day social and financial expectations with the manners and dress codes of the fabulous 50’s – dinner cooked on time for hubby coming home from work, his slippers dutifully warmed by the fire, perfectly cooked boiled eggs for breakfast and regular handcrafted cocktails and a doting 50s style wife, what could possibly go wrong? Well, plenty actually, and it wouldn’t be a proper drama without conflict. Cue, Judy’s no nonsense mother, Sylvia.

In the second half of the play Judy’s mother Sylvia (Cynthia Marsh) puts her daughter straight on the true-life realities of living in the 1950’s in the only monologue in a play whose main text is built upon short interlocations between cast members. Marsh totally nails it delivering this genius piece of theatre writing even breaking the fourth wall in doing so. The audience reaction is feeling you (and Judy) have been thoroughly lectured for thinking that the 1950s was some kind of perfect living paradise or homely idyll. And to me, being a child of the 1950s, much of it rings true.

Sylvia says: “This gingham paradise you’ve made for yourself – you know it’s not real, don’t you? The fifties didn’t even look like this in the fifties. You’re living in a cartoon. You want to know what the fifties were like, from someone who was actually there? The fifties were terrible. The idea that anyone would want to would choose to go back there, it’s ridiculous. The pair of you in your frocks, look at you. Do you know how cold it was? November right through to March. Everyone huddled round their own fireplace, cause everywhere else was freezing. The whole house except about a yard around the sitting room fire where it was boiling, the rest of it bone-cold. It bit your nose off in the morning. I’d offer to help mum with the dinner, not to spend time with her, just so I could stand next to the oven. Sundays that lasted a month, nothing open, nothing to do. Church. Freezing. But you couldn’t not go. Rationing! Still rationing. Bread you could build houses with. Tiny meals, never feeling properly full except at Christmas… Everyone making do and mending, things that were already wrecked. And the intolerance: try being anything other than a straight white man and see if you still think it’s utopia.”

She doesn’t hold back and continues. “And don’t expect not to be groped at work, that’s the least of your worries. Your husband is legally allowed to fuck you whenever he wants to, it doesn’t matter how bad things are between you, or how many too-many children you’ve got or how much your head aches or your back aches or you can’t stand the sight of him anymore, the weight of him on you. And no abortion, no birth control. No help anywhere. Divorce him? Good luck, love. Whatever he got up to, you turned a blind eye to it… “

This really well-observed play has some very witty lines and is very much a layered drama which is likely to generate debate amongst audiences. ‘Home, I’m Darling’ is, in essence, a well-explored concept, with a modern commentary covering sexism, feminism, harassment, and the places of men and women in home and in the workplace. It has twists in the dramatic structure and much is commented on re the gender balance. Some of it quite subtle.

‘Home, I’m Darling’ has won professional awards such as an Olivier Award for Best New Comedy and garnered quite a large fan base especially in the amateur theatre world in Britain. Whilst this is the first production I have actually seen I am aware of plenty of other Midlands based amateur companies doing it, partly because it offers good parts and partly because of the appeal of the nostalgia aspects; initially seen through rose-tinted glasses. But also through a series of human relationships perspectives that shatter marital and work delusions. Like Judy’s cakes and pork chop dinners it is one to satisfactorily sink your teeth into.

This Lace Market Theatre production, playing until Saturday 1st November, has much to commend it. The small cast are made up of Sally Eaton (Judy), Jamie Goodliffe (Johnny), Emma Smart (Fran), Christopher Mercer (Marcus), Cynthia Marsh (Sylvia), Ali Lit (Alex).

It is directed by Payash Raslan and is a superbly realised piece of theatre. Outside of the basic script our Lace Market theatrical experience is enhanced with audio adverts in the style of the 1950s placed with care and attention between each scene change. The action is slick and flows beautifully. The addition and removal of props is done with great dexterity and no doubt aided by unseen backstage hands. There are many costume changes and they too are achieved with perfect timing.

Another non-scripted addition is the use of sound effects (clapping, cheering and bursts of laughter) throughout most of the first act on the opening of each new scene. Along with old-fashioned mannerisms and 1950s television recording studio clipped ways of speaking from Judy and Johnny, the premise that they are living their lives in a false reality is brilliantly realised and novel. An already layered piece of theatre is given even more layers like a deep chocolate cake that has been been made even more flavoursome by adding some delicious whipped cream. The sound design is by Gareth Morris.

The set design (Steph Nicolls) of an open plan living room bleeding straight on to the kitchen and dining area is strongly wrought and works very well without doors as the actors can move straight from one area into the other without going through a physical portal or miming the same. The 1950s style chairs, couch and pouffe are a retro dream come true.

There is not a false acting note in the highly commendable acting by all of the very believable cast. The audience concentration throughout is absolute which is a great testament to the naturalistic dramatic playing of ‘Home, I’m Darling’ at the Lace Market Theatre and this clever production is yet another great offering by this amateur group. Together, Sally Eaton, Jamie Goodliffe, Emma Smart, Christopher Mercer, Ali Lit and Cynthia Marsh and all of the Lace Market creatives combine to make a uniquely memorable evening out of Laura Wade’s fantastic, thought-provoking play.

Production photos credit: Grace Eden Photography.