Dear Octopus @ National Theatre, London
Whilst it had the potential to be a creaky period piece of nostalgic drama, this play never did. Firstly, due to Dodie Smith’s writing — charming, funny, engaging and delightful, the characters and the house itself draw you in. For the duration of the play, we too become part of the family. Yet it’s not a comforting chocolate box, as there is challenge in the characters, how they relate to each other — and their frustrations, exasperations and unkindness. Ultimately there is forgiveness, reconciliation, openness and romance, and the play leaves you with a smile.
Staged within a versatile open doll’s house setting, we encounter the inter-generational household of a family coming back together for Dora and Charles Randolph’s Golden Wedding anniversary in 1938. The losses and impact of World War One are a present reality as appeasement becomes an impossible position in 1938. Stability and change are contrasted, along with status, being an adult child in the family and how children relate to each other as siblings and to their parents, as adults. Mostly by being assigned ‘little jobs’ or evading being given them by Dora (Lindsay Duncan). It’s also about what a life is, what achievement looks like and if a small life lived in a small ordinary world (though privileged) is worth it. Charles (Malcolm Sinclair) is a masterclass in this.
The children and their children, the grandchildren, return, along with Dora’s glamorous sister, Belle (Kate Fahy), who has her own secrets. How we know and understand each other, particularly within relationships, is explored — along with secrets, which we think are our secrets, but are known by everyone.
Along with the family, the ‘servant problem’ and class/social changes are hinted at. Paid companion Fenny (Bessie Carter) doubles up as a servant as the two servants, plus village help, are overrun by work — with all the family returned and a dance to come. The staff express their frustrations at points in a way that would have been unthinkable pre-World War One. Electricity is coming to the village, but Dora won’t have it in the house. Cynthia ( Bethan Cullinane) returns home by bus, rather than being collected in the car from the train station! Nicholas (Billy Howle) works in advertising. The home is not quite suitable for modern living. and freezing, warmed by a collection of hot water bottles! time consuming fires and strategically managed hot baths. A Nanny is also retained in post — more for tradition, than because there are any children to care for.
Throughout the play, no-one behaves to expectation or type. Fenny’s secret is known by all — apart from the one person she needs to know — and begins to eat at her, impacting her usually decorous and unflappable behaviour. Cynthia evades her mother Dora as although her unhappiness is apparent (and her secret known to her siblings), she fears parental expectations and reactions — and being a disappointment or a failure in their eyes.
Although he appears to not do very much, Charles does two heroic things — firstly he remains faithful to his wife, even when his sister-in-law confesses her long-held love for him. Secondly, he speaks to Nicholas about his behaviour and helps Fenny with her troubling secret.
Whilst this is from the era of keeping calm and carrying on, and bucking up with stiff upper lips, the play is anything but. It’s an emotional play, but people deal with and manage their emotions, and get on with life and each other. There’s also a beautiful moment where Charles and Dora talk honestly about faith, really deep personal things — and Charles acknowledges his wife’s constant example — and her wisdom.
A satisfyingly strong story with multi-faceted characters, we are rewarded with a range of emotions including a happy ending. Kudos needs to be given to the child actors too — who were engaging and just as riveting as the adults in the cast.
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