Home, I'm Darling

On Friday, 11th October, I was thrilled to be invited to the inaugural production by the Broughton Players, who chose to present their interpretation of Home, I’m Darling by Laura Wade.

The play is a dark comedy following Judy, a modern woman captivated by the aesthetics and domestic ideals of the 1950s. Judy and her husband, Johnny, live in a meticulously styled retro home where she devotes herself to being the perfect housewife, baking and cleaning while Johnny works. However, cracks start to appear in their seemingly idyllic life as financial pressures mount, and Judy's devotion to an idealised past begins to strain their relationship. As reality collides with her vintage fantasy, the play raises questions about gender roles, nostalgia, and the complexities of seeking happiness through bygone ideals. Wade’s play explores the irony of romanticising the past and the cost of trying to live in a world that no longer exists. Home, I'm Darling offers a fresh, thought-provoking look at marriage, identity, and the allure of escapism.

As the audience entered the auditorium, the stage was obscured from view; when the curtains opened, there was a collective gasp and hearty round of applause in honour of the play’s meticulous and beautiful set. We saw a highly detailed cross-section of a picture-perfect 1950s home, with a living room, kitchen, hallway and, most impressively, an upstairs bedroom. The use of space was exceptional, and the project, spearheaded by Frank Duxbury and ably supported by Geoff Dawson, was nothing short of a triumph, well-deserving of its rapturous reception from those of us seated front of house. Truly great sets give a company of actors a space in which they can fully immerse themselves in the narrative, and this was a clear example of that in action. Further magic was added by an exceptional and era-appropriate range of props, provided by Frank Duxbury, Jane Tudor, and Stephanie Sibbles.

The set was further enhanced by particularly effective sound and lighting from the team of Steve Hall, Anthony Leadbetter, and Nick Lowe, whose work was unobtrusive, creative, and near-flawless in terms of cues. Sterling work from this team.

The cast were supported by the costume team of Cath Daire and Rachael Soar, and dressed by Stella Judson. Their work should be applauded: costumes were bright, vibrant, and beautifully accurate to the 1950s era that so heavily influenced the play’s world. Not a stitch out of place. First-rate.

Set changes were frequent throughout the play, with an eye-watering number of props constantly moving on and off stage. In the hands of a less imaginative company, this could have led to sluggish transitions and audiences checking their watches. Yet, the production’s decision to make the act of rearranging props and re-styling the set a central feature was a stroke of brilliance. Instead of typical blackouts between scenes, the stage was bathed in twilight lighting and underscored by music that enriched the narrative. The stage management team, dressed as period-accurate characters, redressed the set with such precision and flair that it felt like choreography—fascinating and delightful to watch, and seamlessly integrated into the performance itself.

Home, I’m Darling was directed by Anne-Marie Flood, who is to be celebrated for her insightful and creative work at the helm of this production. Her experience as a director was evident throughout the play; it was immediately clear that she had an exceptionally clear vision for both the characters and the narrative. She didn’t labour the big points or try to tell the audience what to think, instead presenting the story in a warm and natural style, allowing the audience to reach their own conclusions about the characters’ lives and choices. Masterful work from a talented director.

The cast of Home, I’m Darling were well suited to their roles, and performances were uniformly impressive. The central role of Judy was played by Rachael Soar, and although it is a hugely challenging part, she excelled in all aspects of the production. Soar’s first noticeable strength as an actor is her voice, which rang out across the auditorium with clarity, power, and authority. Her diction and enunciation were superb, and she moved around the set as though it truly was the home she had lovingly created for herself and her husband. In the heightened emotional moments, Soar was intuitive and natural, leading the audience to sympathise with a character who could have, in less gifted hands, seemed selfish and two-dimensional. A truly impressive performance of a very difficult character. Well done, indeed.

Dan Burt brought Judy’s husband, Johnny, to life with great skill, tackling a challenging role with ease. Burt’s portrayal made Johnny feel like someone you might realistically meet at work—a man deeply in love with his wife and willing to do almost anything to keep her happy. He portrayed Johnny with sensitivity, capturing the character's internal conflict: a love for the comforts of a ‘traditional’ marriage—a perfect home, elaborate meals, slippers by the door, cocktail soirées, and freshly baked treats—clashing with the frustrations of missing out on the workplace dynamics and opportunities of the twenty-first century. A steady and confident performance, only slightly undermined by the occasional mumbled line, which is ultimately a simple fix for the actor.

Judy’s mother, Sylvia, was played by Pat Baker with a flash of glamour, a wide range of acidic and often brutal verbal takedowns, and the quiet confidence of an experienced actor. Sylvia’s role is to provide a dose of reality for Judy, constantly reminding her of everything she’s given up to pursue her 1950s housewife dreams. Baker filled this role exceptionally well, excelling when delivering a grand speech to address long-standing grievances.

Judy and Johnny’s close friends, Fran and Marcus, were portrayed by Lauren Twist and Tom Armitt. Tempted by their friends’ traditional lifestyle, the pair are ultimately unsuited to it. Both actors were perfectly cast and brought a fresh energy to the stage with every appearance, projecting their voices well and sprinkling comedy relief into the play. Marcus has a dark side, however, and this was perfectly captured by Armitt, who knew exactly when to shift his persona to something unsettling. Strong performances from both.

Finally, Johnny’s boss and object of his fleeting affections, Alex, was ably and energetically played by Rebecca Moon. Alex is, largely speaking, the antithesis of Judy, embodying the life Judy has left behind. Moon played Alex as a confident, loud, and no-nonsense modern woman, stylishly and entertainingly. In scenes with Johnny, his conflicting views on living in a time capsule became most evident, as we saw him try, unsuccessfully, to keep one foot in each world. Moon’s sensitive and creative portrayal of Alex gave us a wonderful counterpoint to Soar’s Judy, and she delivered some of the evening’s sharpest dialogue. An accomplished performance.

Before this evening at the theatre, I knew very little about Home, I’m Darling, but what I found at Preston Playhouse was a brilliantly written, engaging, witty, and insightful piece of drama, lovingly brought to the stage by a talented and passionate group. By the end of the performance, it was clear how much the audience had bought into the play and collectively enjoyed it. A fantastic evening of theatre, presented by an exciting new addition to NODA NW District 2. I look forward to their next production!

 

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