A Month of Sundays

A Month of Sundays is a bittersweet comedy about that time of life most of us try not to think about: getting old and needing help to live our lives. This was the first play by Bob Larbey who is better known for his TV comedies, many written in conjunction with John Esmonde, such as “Please Sir”, “The Good Life”,  “Ever Decreasing Circles” and “A Fine Romance”. Following its 1985 debut in Southampton, it transferred to the West End and won Best Comedy of the Year in 1986. The undercurrent of sadness at the gradual effects of old age is countered by Larbey showing us these experiences with sharp comedy flipping, in the blink of an eye, from pathos to belly laughs.

Director Brenda Adams has assembled a strong cast to do justice to this excellent script. Hardly ever off stage as the main character Cooper, Dil Peeling’s performance is a real tour-de-force.  Adopting a veneer of banter and good humour in his valiant determination to cover up his growing fear of the various symptoms of old age, he totally convinced me with his shuffling gait, his flights of fantasy and frequent dashes to the toilet. The hurt shown on learning that his grandson does not want to visit him was palpable and his dealings with his daughter and son-in-law were nicely handled.

Aylott is Cooper’s co-conspirator on the escape committee and only real friend. Lawrence Cook gave a nicely measured performance which soon made you forget he was rather young for the role, and he portrayed the character’s gentle and sensitive nature really well, especially when he started to realise he was descending into dementia. His final scene with Cooper as they adjusted their relationship to the new circumstances was unbelievably touching.

Kat Wootton and Ben Gander were well paired as Cooper’s daughter Julia and her husband Peter. Who hasn’t had to endure the painful ritual of a Sunday visit to an elderly relative, desperately trying to think of things to talk about? They portrayed that awkwardness perfectly, so that you felt sympathy for them as well as Cooper. Ben gave us some wonderful facial expressions, while Kat made Julia’s irritation at having to make these duty visits painfully evident, but her gradual warming to her father at the end was a nicely sensitive moment.

Miri Bradder was excellent as the caring Nurse Wilson, who Cooper comes to think of as a second daughter. Her emotional scenes were beautifully handled and you could feel her joy at being able to invite Cooper to her wedding. Beryl Savill gave a masterly performance as the cleaner Mrs Baker. As carer for her elderly father, she clearly understood his position and showed great sympathy towards Cooper, while taking none of his nonsense.

The entire play is set in Cooper’s bedroom at the rest home and the excellent box set was well furnished with appropriate items, setting the scene perfectly. The relatively simple changes were efficiently handled and the lighting was most effective. Costumes were well chosen, with every character looking just right.

Dealing with end of life scenarios is something most of us try not to think about until it is thrust upon us. Bob Larbey has addressed some of the issues with great humour and compassion and, under Brenda Adams’ thoughtful direction, this talented cast have brought them to us most effectively, highlighting the humorous aspects while still giving us pause for thought about the more serious side.

Well done Lion and Unicorn – another fine production!

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