We are in an era of distractions, an era in which our attention has now become part of the economy by which society is maintained and yet it is production like How the Other Half Loves which reminds us how to slow down. Decades after it was first written, How the Other Half Loves demonstrates why Alan Ayckbourn‘s work remains such an enduringly sharp depiction of the British Middle-class experience as well as gender roles and marital strife. Using witty dialogue and engaging storytelling this play satisfied the British need to “keep an eye on the neighbours”.
The stage set being designed around two living rooms that were intertwined allowed us to embrace that “nosiness”, the one that many deny but which we know is engrained in British culture. There was also the comfort of nostalgia – watching the characters use dial up telephones and sit down to read newspapers felt endearing despite it not even being so long ago that that was our shared reality.
The staging made us feel like we were voyeurs – peaking behind the curtains into these marriages and relationships which were filled with misunderstandings, lies, deceit and desire. Phillip Breen’s direction handled multiple conversations well with a pace that though felt chaotic at times was controlled and pulled together well. The dinner party scene was a fantastic example of this which not only added to the frantic comedic nature of the production but titillated us as the breadcrumbs of truth were revealed.
One cannot talk about a play of this nature without acknowledging the impact of the cast who were all brilliant. The biggest laughs went to Roger Allam as Frank Foster whose line delivery was well-rounded and witty with a subtle gormless nature which enamoured us all. There were elements of farce across the play which the cast played so well in their seriousness despite it feeling ridiculous – again the dinner party scene is the perfect example of this.
Suspicion and insecurities are at the heart of this play with Ayesha Antoine (Teresa Phillips) expressing this well throughout along with Allam (Frank) who clearly wanted to be seen by his wife but didn’t know how. Communication (or lack thereof) and the desire to keep up appearances particularly within marriage also underpins much of how the story unfolds and whilst the backdrop may have been from the 60s the themes are still relevant today. The Phillips were a bold break from expectations along with Mary Feathersone who surprised many times throughout the story.
How the Other Half Loves is a charming production. If there is a weakness, it is perhaps that we don’t always connect with each character beyond a certain point, but of course in order for the story to unfold it’s not always possible to get to know each character in depth.
This production should remind people why Ayckbourn is considered one of Britain’s great modern playwrights with his incorporation of wit, social observation on class and gender as well as controlled chaos. What makes this production more than a period comedy is the realisation that beneath all the laughter and comedic flow, very little about marriage and the desire to appear respectable has changed – only the way we share information has.
NEED TO KNOW: How the Other Half Loves is at the Old Vic Theatre until 19 Sep 2026 | Find out more.
