Home i'm darling

Laura Wade’s Home, I'm Darling is a witty, thought-provoking exploration of nostalgia, gender roles, and the realities hidden beneath an idealised domestic dream. In this latest production by the Westovians, audiences were transported into a beautifully recreated 1950s-inspired home in Welwyn Garden City, where Judy strives to become the perfect housewife for her hardworking husband, Johnny.

There is, however, one important catch — it is not the 1950s. As the play unfolds, Judy’s carefully constructed fantasy begins to unravel as modern expectations and realities clash with her longing for a simpler, more traditional life. Through compromises, confrontations, and emotional revelations, the play examines whether love and marriage can survive when fantasy and reality no longer align.

Leading the cast was Hannah Daglish in the demanding role of Judy. Rarely offstage, Hannah fully embodied the character, seamlessly navigating both the emotional and physical demands of the role. Whether maintaining Judy’s immaculate domestic world or subtly preparing the stage for the next scene, she handled every moment with grace and ease. Hannah portrayed Judy’s internal struggle with great sensitivity, balancing her determination to preserve her dream lifestyle with the growing strain it places upon her marriage.

Peter Dawson, as Johnny, proved the perfect counterpart to Hannah. The pair shared excellent chemistry throughout, creating a believable and engaging relationship at the centre of the play. Peter brought a natural warmth to the role and demonstrated particularly strong comic timing, appearing entirely comfortable and authentic on stage.

Carol Cooke delivered a memorable performance as Sylvia, Judy’s mother. Bringing welcome humour to some of the production’s more tense moments, Carol provided both comic relief and emotional depth. Her monologue reflecting on the realities of womanhood — both in the 1950s and today — was one of the standout moments of the evening, offering an honest and poignant counterpoint to Judy’s idealised fantasy.

Supporting performances from Jess Henderson and Dan Ward as Fran and Marcus added further energy and contrast to the story. Both actors brought strong comedic moments while effectively highlighting the differences between Judy and Johnny’s chosen lifestyle and the modern world around them.

Rounding out the cast was Laura Readman as Alex, Johnny’s boss. One particularly memorable scene involved the infamous devilled eggs sequence, where the cast expertly captured the discomfort and awkwardness of the situation, creating a tension that delightfully spread into the audience itself.

Director Mike Harrison, supported by the cast, crew, and creative team, succeeded in creating a wonderfully authentic 1950s aesthetic throughout the production. The set was particularly impressive, offering multiple acting areas without the need for significant scene changes and making excellent use of the available space. Every detail contributed to the immersive atmosphere, and congratulations must go to everyone involved in designing and constructing such a visually striking setting.

Music was also used effectively throughout to cover transitions and costume changes, helping to maintain the production’s flow. A notable shift to more modern music during the flashback scenes set three years earlier cleverly signalled the change in timeline and mood.

At times, the play did feel somewhat lengthy, and there were moments where the pacing dipped slightly. However, this was still an enjoyable and engaging production of a clever and challenging play.

Congratulations to all involved — cast, crew, and creatives alike — on a highly entertaining evening of theatre.

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