The Good Life

THE GOOD LIFE is the stage adaptation of the Larbey and Esmonde hit TV BBC 70s sitcom of the same name. The play opens with Tom facing a mid-life crisis on the day of his 40th birthday. As a result, he leaves his safe job and with his wife, Barbara, they decide to ‘live off the land’ and go self-sufficient.  This production was broken into five acts which covered various episodes. But these are seamlessly stitched together to create a heartwarming and very funny piece of theatre.

The stage was divided in half with one side Tom and Barbara’s kitchen and the other side Jerry and Margo’s sitting room. They were dressed reflecting the status of the couples: The Good’s being more practical and the Leadbetter’s slightly more upmarket. Both were in keeping with the period.    Props were good including plants, vases, a Ewbank carpet sweeper, ice buckets, drinks table and flowers. Good attention had been paid to detail in selecting period props such as the crockery and the trimphone telephone.  As The Goods became more self-sufficient, props increased such as the oxygen box for the piglet, and the Aga.   The Leadbetters hosting a party was the chance to show off some 70s food including a Black Forest Gateau and some Tia Maria.

The costumes were good and in keeping with their characters: Barbara’s baggy dungarees, Tom’s change from office attire to gardening clothes and Jerry’s smart suit, complete with polished black shoes.  There were a variety of minor roles requiring various outfits: the pig man, a police officer, the milk woman and Mary, a work colleague.  Sir also had a very smart business suit and his wife, Felicity, a gorgeous party dress.  But Margo’s ever changing wardrobe deserves special mention including trousers suits, 70s bold blouses, a chain belt and great 70s shoes.

The lighting was good with use of a spotlight to focus attention on the piglet. Lighting was also used to great effect when an argument was brought to a climax. The scene when Tom and Barbara were smoking pot was greatly enhanced by the use of a smoke machine.  

Great attention had been paid to every aspect of this excellent production.   There was great chemistry between the four principals: the obvious affection that Tom and Barbara had for one another, the flirtation between Jerry and Barbara and Margo and Tom was also evident.    Helen Robson completely captured the voice, posture and mannerisms of Margo.    Helen Lewis as Barbara bore a passing resemblance to tv’s Barbara and this was accentuated with the hairstyle, headscarf and oversized 70s glasses.    Bill Hansell was totally comfortable as the sometimes breathy, enthusiastic and often pensive Tom.   Jake Featherstone perfectly embodied Jerry’s middle class businessman and loving husband of Margo.    He knew how to humour Margo who was often pompous but strangely endearing, and he was often at the receiving end of her acid tongue.  

The action flowed smoothly.   A large proportion of the humour arose from the chaos created from the contrast between the couple’s living arrangements.   There was a huge amount of warmth between the four.    They were supported by Margot Konitzer, and Gerry Mills as Sir and Felicity and they played their roles with aplomb, and Paul Hughes and Lucy Halten completed the cast as Dr Joe, Harry, the pig  man, the Policeman, milkwoman, Margaret and Mary – all with quick changes of costume and characters.    This added a slight slapstick feel to the action and was well received by the audience.  

Directed by Pete Jeffares, this production of ‘The Good Life’ was an absolute joy that contained a lot of laughter, love, fast farcical action and emotion.    One of the highlights for me – and one that brought a really big laugh from the audience – was when Margo, when asked to bring brandy to resuscitate the ailing piglet, asks “Remy Marten or Corvoisier?!”   Just hilarious.

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