Dorking Dramatic & Operatic Society (DDOS) The Green Room Theatre, Dorking Reviewed by Tony Flook

In Praise of Love

Joey (Ross Baker, standing) riles his father (Crispian Shepley, right) egged on by Lydia (Sandra Grant) while Mark (Dave Rice) tries to concentrate on chess Photo: Stuart Yeatman
Sebastian (Crispian Shepley, right) is too engrossed in his game of chess to notice that Lydia is trying tantalise him with the new fur stole given her by Mark (Dave Rice, left) Photo: Stuart Yeatman
Lydia (Sandra Grant) tries to keep the peace between Mark (Dave Rice) and Sebastian (Crispian Shepley) Photo: Stuart Yeatman

Some of Terence Rattigan's works, however well structured, now seem dated. The complex, tightly-interwoven themes of mutual, undeclared affection in In Praise of Love are though, as recognisable today as when it premiered in 1973.

Lydia conceals the truth about her terminal polyarteritis from Sebastian, her unworldly, seemingly uncaring husband who, in turn, hides the fact that he knows the real situation.

Dorking Dramatic & Operatic Society's (DDOS) production, scrupulously directed by Sally Vince, fully explored this emotional, wordy, yet not humourless, play.

Sandra Grant brought out the torment of Lydia – an Estonian refugee, brought to England in 1945 and now facing death within months. Her Baltic accent was generally well held, even if a hint of other inflections were occasionally discernible.

Crispian Shepley was convincing as the bluff, left-leaning Sebastian who, as a British intelligence officer, had rescued her from Russian- occupied Berlin at the end of the Second World War. His tendency to drop his voice in places was particularly noticeable in the second act.

Dave Rice, whose American accent never faltered, exuded confidence as best-selling author Mark, who has to carry the burden of knowing both his friends' secrets without revealing this to the other party. The author's device for Sebastian and him to develop the plot during a game of chess was perfectly evolved by the actors.

Ross Baker showed aspiring playwright Joey's alienation from his father, exacerbated by his affiliation to the Liberal party.

Cue bite was never less than brilliantly conversational, even if some speeches could have warranted slightly longer pauses. Grouping was impeccable throughout.

Stuart Yeatman's set design evinced the essence of the couple's Islington flat, decorated in what was considered modestly tasteful at the time.