There’s been some mutterings in the press in recent weeks about new US playwrights and actors staging some kind of theatrical coup in London.
Of the past six plays I’ve seen, three have been American (and I’m lined up to see Kathleen Turner in the latest production from across the pond in Bakersfield Mist this week). Now call me bad at math(s), but I’m not sure this percentage constitutes a takeover; I don’t think we’ll have to call on some stage hands to erect a MDF wall around Shaftesbury Avenue just yet.
And at least we have national treasure Imelda Staunton flying the flag for British talent as the lead in one of these plays from those New World upstarts, a play that deals with that very English problem – class – in a very un-English way.
After a sold out, critically acclaimed run at Hampstead Theatre, Good People has transferred to the Noël Coward theatre to fill the bare stage following the early demise of The Fully Monty. You could draw plenty of comparisons between Good People and The Full Monty; both are about blue collar workers facing an uphill struggle against constant disappointment and bad luck. But David Lindsay-Abaire’s play – loosely based on his own upbringing in South Boston’s tough neighbourhood known as “Southie” – is sharper, savvier and doesn’t flinch from issues of class and race. Plus there’s no Donna Summer and everyone keeps their clothes on.
We first meet Margie (Staunton) as she’s being sacked by her boss (a former friend’s son) from her dead-end job in a dollar store after he tires of her chronic lateness. She’s only late, she pleads, because her babysitter (her upstairs neighbour and landlady) never turns up on time to mind Margie’s grown-up, disabled daughter.
Her plight is obvious, but while she’s clearly a woman with some tough obstacles, she’s not presented as a virtuous person, there’s a hint of malice and dishonesty in her that tarnishes her situation, or rather our sympathies for her situation.
Right from beginning, Margie is an ambiguous figure and your sympathies for her oscillate throughout the play. On the whole, thanks to the terrific warmth and humour that Staunton instils in her, I was largely on her side, and when it looked like I’d been duped, I felt betrayed, only for Lindsay-Abaire to nimbly challenge what we thought was happening.
At rock bottom and facing eviction, Margie’s gobby friend Jean (played with relish by Lorraine Ashbourne) mentions how she’s recently bumped into a an old school friend Mike (Lloyd Owen) who has escaped the mean streets of “Southie” for posh Chestnut Hill – which we will see later is all White Company beige and creams – and how he may have a job for her. He got out thanks to his big brain, pushy dad, and we learn, protection from the harsher realities of life .
The awkward meeting in his fancy office (he’s now a successful fertility doctor) unearths more of Margie’s simmering anger at the injustice of life and rattles Mike enough for his smooth Chestnut Hill veneer to slip to reveal some Southie tough talking. Angered by Margie’s comment that he’s become “lace-curtain Irish” he invites her to his party at the weekend. When he later phones to tell her the party has been cancelled, Margie doesn’t believe him and turns up at his house anyway.
Here we meet Mike’s young, beautiful, middle class wife and Lindsay-Abaire’s funny, punchy script and some fine acting from the three main players (Merlin’s Angel Coulby is superb as Mike’s overly fastidious wife Kate) makes for some compelling face-offs as truth, choice and what constitutes nice get debated with little finesse over cheese and wine.
Good People is about class and race, nature versus nurture; an examination of the American Dream where you can – so they say – aspire to be anything as long as you work at it. It challenges the idea that we get where we are because we deserve to be – an idea (lie) that is still pedalled furiously by those who can afford to, forgetting that even being born with the drive to succeed is fortunate.
For all its messages, Good People is a play you can enjoy on its own merits; it’s laugh-out-loud funny and the past provides enough intrigue to keep you gripped to the end. And despite its dark edges, there’s warmth and tenderness, played without a hint of sentimentality.
Good People runs until 14 June at the Noël Coward theatre. For more information and tickets visit www.delfontmackintosh.co.uk.
by Suzanne Elliott