Home, I’m Darling

This visit marked not only my first time seeing Home, I’m Darling, but also my first-ever trip to Stafford, and consequently, The Gatehouse Theatre and its charming MET studio space.

I was pleasantly surprised by the comfort of the seating—padded, bench-style arrangements that made for a cosy viewing experience. Since the studio uses unallocated seating, I had the chance to choose my spot, and with the audience relatively sparse on opening night, there was plenty of space to stretch out. Hopefully, audience numbers built as the week progressed.

The programme was helpful, as it provided a useful summary of the play’s journey to the Stafford stage. I appreciated not having to search this out myself. I’d been disappointed to have missed Home, I’m Darling during its West End run, and I was surprised to realise that it was over six years ago, in early 2019—before the pandemic! Time has certainly flown.

I’ve always appreciated an open set. It gives the audience a chance to absorb the atmosphere before the action begins.

Stage left: a 1950s kitchen, complete with vintage-style appliances, including a retro fridge. A curtain under the sink—a detail which took me back to memories of my grandparents’ home—hid the cleaning supplies.

Stage right: a cosy living room setup, featuring era-appropriate furniture and a record player that added to the authenticity.

The set was very well designed given the constraints of a relatively compact studio space. It allowed for seamless shifts in focus between the kitchen and living room—even when the action occurred simultaneously in both. Congratulations to Michael Taylor and everyone involved in it’s construction.

We’re first introduced to Judy, played by Clare Williams, who makes a striking entrance—every inch the stereotypical 1950s housewife as seen in magazines of the era. Judy is clearly on a solo mission: to be the doting, domestic partner—cleaning (washing on a Monday) and cooking (baking on a Friday) for husband Johnny, played by David Harfield. Johnny, at first, appears to indulge his wife’s obsession. In a perfect period moment, he’s offered a choice between marmalade or lemon curd for his toast before heading off to his job at the estate agents.

This first scene evokes the feel of a perfect 1950’s life—more Welwyn Garden City fantasy than 2018 reality. But it quickly becomes clear just how deeply obsessed Judy is with her chosen lifestyle. And so, the key question arises: is Johnny happy in this pretend world with it’s domestic bliss especially as not able to visit Pizza Pronto?

Clare Williams, who is on stage throughout and David Harfield are both thoroughly convincing in their roles—not only in the opening scenes but also as the emotional depth of the play is gradually revealed and the truth unfolds.

Friends of Judy and Johnny. Fran and Marcus played by Rachel Chapman and Dave Dinsdale were another good pairing. Fran borrowing a book from Judy on how a housewife should act while in ore of Marcus. Marcus meantime suspended from work for sexual harassment. His scene with Judy who is almost tempted to do anything for money was well portrayed.

The at times interfering Syliva (Judy’s mum) was also well played by Lisa Richardson-Lewty. Her long speech about the reality of the 50’s during act two was well delivered.

Johnny’s branch manager was efficiently and convincingly played by Lucy Henshall-Swinnerton as Alex. Invited round for drinks and snacks (including Deviled Eggs) only to then deny him the much-needed promotion and pay rise.

Set changes during the acts were cleverly primarily handled by the cast in character These transitions were smooth and well-rehearsed—no small feat given the amount of prop shifting required. The musical interludes that accompanied these transitions were well chosen and in keeping with the show.

Speaking of props—everything from the food to the furnishings was well suited to the period. So well done to Andrea Keady.  

The costumes, especially for Judy and Fran, were superb. They helped bring the 1950’s fantasy to life with colour. Well done to Ellen Phelips and Linda Raphael for their work in wardrobe. Make up and hair styles were equally impressive.

Lighting and sound matched the performance well. I liked the bird song sound effect at the start of act two when the idea of living in the 50’s was first hatched in a flashback.

This was a well-directed production, and I look forward to seeing you all again in the future. As for what’s next – ‘Allo ‘Allo 2 The Camembert Caper in November 2025, this time in the main house.

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