★★★

“an unflinching depiction of grief, suffering, and how family can infect”

Personal Values, a new play written by Chloë Lawrence-Taylor and directed by Lucy Morrison, is an unapologetic depiction of grief and isolation through the lens of two estranged sisters.

Firstly, the set design (Naomi Dawson) is fantastic. The clutter and physical chaos of a house that is so rammed with chachka it has begun to retaliate, is arresting. It’s the palpable manifestation of the grief and self-flagellation central to the emotional nucleus of the piece. And it’s deliberately distracting. For both the characters and the audience, the imposing beast that is hoarding looms throughout, its own character, pulling at everyone. It makes for bleak show. But that is the point, so it’s effective.

Two sisters, now in middle age, are reunited – in a conspicuously constrained space– they bicker and blame and mourn. As confessions unfurl, some of the ice inevitably thaws, and the idiosyncrasies and entanglements of sister relationships are depicted with success. Much of the plot is reliant on reveals, so I shall remain vague, but Bea is entrenched in a life-long Hoarding Disorder, thus imprisoning herself in the family home; Veda, on the other hand, ostensibly escaped, but is suffering her own form of incarceration. Much of the piece is naturalistic, with quick two-handed dialogue. In the middle, it tips into a more abstract angle, which is slightly confusing, but ultimately good for the stakes and the drama. Rosie Cavaliero as Bea and Holly Atkins as Veda are both equally excellent, natural but deeply feeling. The script itself was perhaps a little inhibiting for the actors, its dialogue slightly on the generic side.

The piece has two distinct parts, even without an interval. The first was perhaps the more effective: with its focus on sisters, their estrangement and tensions, matched by years of memories and behavioural patterns, it’s a compelling watch. The second half is slightly flatter, exploring the relationship between Bea and her nephew, Ash (Archie Christoph-Allen), as their suffering mounts. Thus, its ending note of hope felt slightly implausible.

Lighting (Holly Ellis) and sound (Max Pappenheim) were also commendable here: flickering lamps lent an eerie, appropriately ghostly quality, whilst an overhead lit square effectively mirrored the prisons these women have made for themselves. A claustrophobic patter of rain underscores much of the piece: it lends an oppressive quality to the dialogue which is palpable.

Personal Values is an unflinching depiction of grief, suffering, and how family can infect. It doesn’t feel quite like a finished product yet, but it certainly explores the quiet tragedy of Hoarding Disorders with subtle grace. The central twist pierces the piece with a further nuance that forces you to reconsider what you just watched, underscoring the naturalism with a darker, more abstract exploration of the spectres of family and mourning.

THE HISTORY BOYS at the Cambridge Arts Theatre

★★★★

“an enjoyable and important revival of a play that has become a modern classic”

Alan Bennett’s much-loved play celebrates the 20th anniversary of its National Theatre first performance with a new production and a national tour (Director Seán Linnen). The period is firmly established from the outset with walk-in music made up of 1980s bangers – Soft Cell, The Human League, Pet Shop Boys – and we hear more of this throughout the show (Sound Designer Russell Ditchfield).

The set (Grace Smart) is the outside of a grim grey building – Cutlers’ Grammar School for Boys, Sheffield – which when it revolves will let us into a classroom laid out with plain square tables and the ugliest red plastic, stackable chairs.

A line-up of eight boys enters performing rather nicely a close harmony, doo-wop number before breaking into their schoolboy characters. Music is an important part of this production (Musical Director Eamonn O’Dwyer), some of it embedded into the plot, at other times as entr’acte music during scene changes. The onus in the solo numbers falls on the vulnerable, questioning character of Posner (Lewis Cornay). Cornay’s made in heaven harmonies soar above the ensemble and his solo performance of Rodgers & Hart’s ‘Bewitched, Bothered and Bewildered’ is truly beautiful. Not forgetting Yazdan Qafouri as Scripps playing the piano quite brilliantly too.

The plot centres on the differing teaching methods of the nearing-retirement Hector (Simon Rouse) and the newbie Irwin (Bill Milner) as they coach the eight sixth formers towards their Oxbridge entrance exams. But the importance of the play and the main interest lies in the developments of each character. Being teenagers, conversation revolves much around sex and we hear a blow-by-blow account of Dakin’s (Archie Christoph-Allen) conquest of the school secretary. But there is also common knowledge of Hector’s fondness for fondling the private parts of his pupils whilst they ride pillion on his motorbike home from school. Despite this being a period piece, the casual acceptance by the boys that this is acceptable behaviour, makes me extremely uncomfortable. It takes the words of the only female teacher Mrs Lintott (Gillian Bevan) – “a grope is still a grope” – to voice out loud that what Hector is doing is wrong. Bevan’s no-nonsense approach to the role allows us to believe that she alone is the wise one amongst the school staff. The Headmaster best described by Mrs Lintott as “a twat” is played perfectly in this manner by Milo Twomey – approaching Basil Fawlty levels of hysteria when roused.

Two important intimate scenes: Posner looks for solace from Hector and Dakin’s attempt to mislead Irwin lack the necessary poignancy for full effect. It is the schoolboy ensemble that is most impressive – the natural chatter between classes and the laddish hijinks – and Timms (Teddy Hinde) stands out of the crowd with just the right amount of cheek and arrogance. A showstopper number of Stand and Deliver despite a lot of banging, stamping and chair-fighting lacks sufficient punch (Movement Director Chi-San Howard). Amplification of the singing might help.

The biggest laugh of the night comes from Rudge’s (Ned Costello) assertion that “History is just one fucking thing after another” claimed with a down to earthiness that, after nearly three hours on stage, this feels just about right.

This is an enjoyable and important revival of a play that has become a modern classic but at times, the highs don’t quite reach high enough and the emotional parts don’t quite reach deep enough.

PERSONAL VALUES

Hampstead Theatre

★★★

“an unflinching depiction of grief, suffering, and how family can infect”

PERSONAL VALUES

Hampstead Theatre

Reviewed on 22nd April 2025

by Violet Howson

Photography by Helen Murray

Previously reviewed at this venue:

PERSONAL VALUES

PERSONAL VALUES

PERSONAL VALUES

THE HISTORY BOYS at the Cambridge Arts Theatre

★★★★

“an enjoyable and important revival of a play that has become a modern classic”

THE HISTORY BOYS at the Cambridge Arts Theatre then UK tour continues

Reviewed on 1st October 2024

by Phillip Money

Photography by Marc Brenner

Previously reviewed at this venue:

THE HISTORY BOYS

THE HISTORY BOYS

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