The Last Of The Haussmans – August 2012


By Stephen Beresford

Directed  by Howard Davies

Venue: Lyttelton Theatre

Date: Wednesday 29th August 2012

Yet another DFCD (dysfunctional family confrontation drama), the twist this time being a reassessment of the 1960s Flower Power generation in today’s world. It had a marvellously detailed set, was a good first play by this writer, had excellent performances, and for those who like this sort of thing it was a great production. There were delicious sparkles of humour through most of the play, but the relatively turgid family ‘discussions’ left me cold.

The start was very promising. We were quickly introduced to Nicky and Libby, a brother and sister with assorted problems, including a drug habit, a rich and varied homosexual past (and present) and a stroppy teenage daughter. Libby’s daughter, Summer, was a representative of the daughter-as-bitch camp, slagging off her Mum at every opportunity and generally behaving badly most of the time. Judy, Summer’s gran and Nicky and Libby’s mother, was recovering from cancer surgery, and this seemed to be the trigger which had brought Nicky back to visit after many years’ absence. The story unfolded in fits and starts, with some lovely humour, mainly from Nicky; the energy dropped when his character was absent for a while. The play ended with a funeral for the last of the Haussmans, and a rather confused new start for Nicky and Libby after the family home had been sold.

The set used the large revolve to move the building round. It was a large Art Deco period house which had been sadly neglected, and with Judy’s hippy past there were plenty of Eastern trimmings to brighten the place up. I spotted, amongst the jumble, wind chimes, a dream catcher and a Tibetan cloth (judging by the shape); the only thing missing was the pungent aroma of incense (probably just as well). Around the front was the garden area, and there were two strange curved wooden pergola affairs on each side of the stage. They were used for exits and entrances to the garden, and were lavishly draped with colourful bunting, but apart from that I have no idea what they were meant to be. They may also have been responsible for our occasional problems hearing the dialogue; with nothing to bounce back from, some of the lines were probably crystal clear backstage but sounded muffled to us. The scenes were mainly set outside, though one was in the music room and another in the kitchen.

The two other characters we saw included a doctor, whose services to Judy included reminiscing about the 60s long into the night, drinking and singing songs. He was also having an affair with Libby which lasted until his wife found out. The other was Daniel, a young man whose talent as a swimmer was being nurtured with regular practice in Judy’s swimming pool. This seemed a bit unbelievable; if she couldn’t keep the house tidy, the swimming pool was likely to be a major health hazard. Anyway, he was a fit young athlete and the eye candy for many of us in the audience, as well as for Nicky.

Rory Kinnear was excellent as Nicky, and well matched by Helen McCrory as Libby, although hers were the lines I had most difficulty hearing. Julie Walters was clearly having a great time playing the aging rebel Judy, and Matthew Marsh was perfect as the randy doctor. The young actors were also very good. Isabella Laughland as Summer conveyed her character’s hostility and occasional vulnerability very well, while Taron Egerton showed us a Daniel who matured a lot during the period of the play, partly due to his experiences at the house and with the family.

The only reason for my lack of enthusiasm about this play is that we’ve seen so many of these family confrontations before and it takes something special in the writing or performances to engage my interest nowadays. I’m also beginning to wonder if the elaborate set didn’t dwarf the play too much; perhaps a studio setting, emphasising the relationships and allowing the location to fade into the background, would have helped the production more. It’s certainly the set that I remember most from this performance, which is not a healthy sign.

© 2012 Sheila Evans at