Barefoot in the Park

The Players’ Theatre is a wonderfully intimate performance space, particularly well-suited to close examinations of changing relationships.  “Barefoot in the Park” was therefore an excellent choice of play to present; set entirely in a tiny New York apartment in the early 1960s, it follows the fortunes of a newly married couple, Corie and Paul, during their first few days of living together.

There’s not a lot of action, so it’s imperative that the words should define the characters and their inter-relationships.  The entire cast knew and understood their lines thoroughly and timed their cues well.  Corie and Paul’s simultaneous monologues in the first act presented a particular challenge, with the actors possibly giving each other’s lines a little too much respect; but then, giving the impression that two characters are talking at the same time without actually allowing them to do so and sacrificing the words and meaning calls for very precise delivery.  A persuasive New York accent was established early on, and nobody’s vowels were allowed to undermine the sense of place.  I liked the way in which the fiction of the apartment being on the sixth floor was maintained by having characters arrive out of breath; if this became less pronounced as time passed, I can only presume it was because everyone was getting fitter.

The apartment setting was realised quite brilliantly by the set designer and his team of builders and decorators.  Particularly impressive was the way in which the onstage practical doors didn’t simply reveal blacks or plain returns, but glimpses of the spaces beyond, such as the sixth floor landing with the front door of the neighbouring flat identified by a period number and letter, or the fittings in the shower room.  The flat is unfurnished in the first act with much discussion about how the furniture hasn’t arrived from Bloomingdales, but the furnished flat revealed in act two included an impressive amount of period detailing.  Bare lightbulbs acquired shades, the shelves in the kitchenette were loaded up with crockery, and practical lights and appropriate pictures breathed life into the apartment.  The large window at the back of the set, with its view of the New York skyline, gave the play a terrific sense of place, as well as facilitating the ledge-walking exploits of two of the characters.

Neil Simon’s works remain popular, with “Plaza Suite” opening in the West End this year, and on this evidence it is easy to understand why.  Fashions and styles may change, the expectations and values of society may shift, but the ebb and flow of relationships is unchanging.  The company recreated this little slice of sixties New York life very well, defining the principals’ contrasting characters in a way that allows them to fall out, yet satisfactorily and pleasingly come back together.  This was another impressive and enjoyable production by The Thame Players.

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