THE TRUTH ABOUT BLAYDS

Finborough Theatre

★★★

“If you enjoy theatre with a sting in the tail, this revival of ‘The Truth About Blayds’ delivers”

Every family has secrets. But what if yours is so explosive it could derail a national institution? ‘The Truth About Blayds’ explores the collision of power and principles, exposing the dangers of idolising money and fame. Despite its sharp execution and timely themes, it may feel a little tone-deaf to contemporary tastes.

One of A. A. Milne’s early plays (yes, that A. A. Milne), ‘The Truth About Blayds’ is set in the 1920s and opens on the 90th birthday of literary titan, Oliver Blayds. Blayds is lauded alongside Wordsworth and Tennyson, and devoted literary critic, A. L. Royce, is invited to give a special address in his honour. However, Royce’s reverence is met with cynicism from Blayds’ grandchildren Oliver and Septima, resentful devotion from Blayds’ youngest daughter Isobel, and self-interested pragmatism from Blayds’ eldest daughter Marion and her husband William. When a shattering revelation threatens to rip everything away, will the family do the right thing? Or will the burden of legacy sway their moral compasses?

Produced by Andrew Maunder and Neil McPherson for the Finborough Theatre, this production embodies the theatre’s mission to revive plays untouched for over 25 years. Written by A. A. Milne (of ‘Winnie-the-Pooh’ fame), the text captures a web of tension between characters with wit and mischief: Oliver’s cynicism cuts through Royce’s blind adoration; Isobel’s saint-like self-sacrifice clashes with William and Marion’s scheming; William patronises Marion despite adopting her surname. Furthermore, Milne cleverly reveals that Blayds’ isn’t the only façade: every character is hiding something. You could argue it’s the perfect play to revive in a post-truth world. However, revivals risk failing to resonate with modern audiences, and this is no exception. Recent power-abuse scandals have rocked the nation, and the story of a rich white man’s unchecked privilege sits rather uncomfortably in their wake.

David Gilmore’s direction speaks volumes through silence, with reactions slicing as sharply as the witty prose. There are some bold directional choices. Septima’s final plea to the family is delivered with her back to the audience, introducing ambiguity to her intentions. Isobel breaks the fourth wall with her final line, forcing the audience to confront the family’s decision.

The performances are sharp and controlled, though perhaps a little too buttoned-up at points. George Rowlands’ razor-sharp timing means Oliver’s acid wit steals every scene. William Gaunt’s Blayds infuses a lifetime of experience into his surprisingly fleeting performance, steeped in reminiscence before revealing his quiet dread. Catherine Cusack shows appropriate restraint but I couldn’t help wanting to see Isobel unravel.

Alex Marker’s stage design captures Victorian maximalism, appearing both opulent and sterile. The deceptively simple lighting (Jonathan Simpson) sets the scene with the backlit sash windows of a London townhouse, and a soft spot subtly illuminating Blayds’ omnipotent portrait. The costumes (Carla Joy Evans) span Victorian, Edwardian and flapper eras, emphasising inter-generational divides. Scene changes set to Strauss’ waltzes contrast flowing beauty with scheming pettiness, reinforcing façade over fact.

If you enjoy theatre with a sting in the tail, this revival of ‘The Truth About Blayds’ delivers. It may not have aged that gracefully and the delivery can feel a touch polite, but there’s no shortage of wit, warmth, and scandal to keep the evening entertaining.

Tag Archives: Jillian Feuerstein

THE TRUTH ABOUT BLAYDS

★★★

Finborough Theatre

THE TRUTH ABOUT BLAYDS

Finborough Theatre

★★★

“If you enjoy theatre with a sting in the tail, this revival of ‘The Truth About Blayds’ delivers”