The Unfriend

'The Unfriend’ is a black as treacle middle-class British comedy, about the hilarious results of a crippling overpolite aversion to facing up to unpalatable truths - where good manners could literally end in murder.  Written by Steven Moffat of ‘Dr Who’ and ‘Sherlock’ fame and fresh from a successful West End production, this play has been produced with a wickedly funny touch by Keri Duffy.   

The story starts with an idyllic holiday cruise, complete with a projected backdrop with rolling waters, deckchairs and the cast in beach attire sipping cocktails.  Peter Lindel (Andrew Lee) is deep in conversation with Elsa Jean Krakowski (Jooli Atkins) an affable, larger than life American widow and fellow-traveller.   They seem to have a lot in common, especially her entertaining lurid stories but get on well despite their conflicting views on Donald Trump.  Peter has an up-tight wife, Debbie (Sarah Woodwards) who seems not to have relaxed on her holiday quite as much as her husband and more concerned with packing ready for the journey home.  

In typical British abroad style, they are brow-beaten into giving their email address to Elsa who won’t ‘take no for an answer’ – but surely she won’t actually carry out her threat of coming to stay with them for a week in London?  

Back in London and back to normal everyday life, we meet the Lindel’s teenage son Alex and daughter Rosie (played with cringe worthy accuracy by Charlie Buxton and Victoria Needham.) It is obvious this is a family with the usual generational communication problems with their teenage offspring.  Alex slobs around his bedroom never venturing outside believing a game of  ‘Grand Theft Auto is exercise’ and Rosie has a deep suspicion of her parents never telling her anything resulting in her eavesdropping on their conversations. 

Also, in typical sit-com style, we meet the annoying next-door neighbour (Alistair Littlewood in his first acting role with RLT) who is so forgettable that after ten years of living next door to him Peter does not even know his name.  Like a walking mogadon, his droning boring voice and passive aggressive observations provided much of the comedy as he tried to engage an oblivious and easily distracted Peter in an inane conversation about a collapsed wall.

Debbie comes home with some devastating news about the initially outwardly friendly Elsa.  Following a Google search, Debbie has discovered, to her horror, she is in fact a serial poisoner suspected of murdering at least six people!  The audience are treated to true crime episode featuring Elsa with a voice over asking - is she a parishioner or poisoner and detailing the various victims she has despatched. 

In a funny scene of British forced friendliness, the couple try to put off Elsa from visiting them that week only to reveal, to their horror, that she is talking to them on her mobile and is in fact at their front door! 

Much of the comedy derives from the Lindel’s desperate attempts to act normally around Elsa who is worryingly forming strong bonds with the younger Lindel’s.  She seems to know just how to talk to them and they equally seem to form a relationship with her prompting an exasperated Debbie to call her ‘Murder Poppins.’

Another funny scene shows Peter and Debbie confronting Elsa with her lurid crimes leaving a penitent Elsa no alternative but to pack her bags and leave.  The twist is that this is a dry-run practice, and the real conversation plays out very differently as the manipulative Elsa manages once again to guilt trip and bend the desperate couple to her will.   

Another character introduced, is the matter-of-fact Policeman (a wonderful observation from Matthew Heard) who Elsa had given a possibly poisoned sandwich to, prompting a hilarious scene with Peter and a cringy conversation through the toilet door about bowel movements. 

The action was very slick and speedy with pacy dialogue just managing to stay the right side of farce.  It was like watching a live version of a situation comedy as the characters find themselves embroiled in ever deeper lies resulting in hilarious misunderstandings.   One of the funniest is when a desperate Peter, uses his own mother’s non-existent illness to get rid of Elsa prompting a furious Rosie to rant they never tell her anything. 

The cast were a tight knit team, who all worked well together to bring the story dramatically to life so you were cringing along in embarrassment with the situation they find themselves in.  You could feel Peter’s desperation and Debbie’s frustration as they dealt with the manipulative, but oh so friendly Elsa.  Andrew and Sarah, as the put upon Lindel’s, were excellent as they dealt with a situation that no British couple knew how to deal with hiding their fear behind toe-curling politeness.  Andrew was fantastic as a man at the end of his tether desperately lying through his teeth to try to get the stubborn Elsa to leave.  His scenes with the Neighbour were a highlight as again his middle-class politeness prevented him from responding to the Neighbour’s cutting passive aggressiveness and digs at their wine drinking.  His scene with the bemused Policeman as he waved around a toilet tissue coated loo brush was toe-curling showing he had finally lost his hold on reality. 

Sarah playing his wife Debbie, was another perfect observation of a typical suburban restrained woman faced with an impossible situation.  Her eventual breakdown swigging her ‘mummy tea’ wine finally allowing her frustrations to burst out was hilarious as she bitterly noted that she was how she was because she ‘wasn’t allowed to murder anyone.’ 

Charlie and Victoria were pitch perfect in their observation of typical self-absorbed teenagers and their eventual transformation under the nurturing attentions of Elsa was nicely performed.  

Jooli Atkins as Elsa was wonderful, as the kindly serial killer who came to stay.  Her accent was excellent and maintained throughout and she created a character that never felt threatening or dangerous despite her catalogue of crimes.  I loved her positive attitude as her larger-than-life persona brought out the best in everyone she came across, providing they weren’t deemed dispensable or annoying!  Jooli’s creation made the odious Elsa into a very endearing personality, not an easy task when you’re playing a serial killer, making us feel that the Neighbour got his just desserts! 

The set was an incredibly detailed modern kitchen and living room, featuring appliances (including a fridge complete with groceries) and a host of props all designed to create the impression of a normal family home.  I was impressed with the backdrop showing a typical suburban street featuring red-brick houses and the gap behind the set allowed the cast to move freely across the windows all adding to the normality.  

There were lots of lovely features such as the collections of photographs featuring the couple’s children as babies which further contributed to the feel of a normal family life.  The set was used well with a side stage for the cruise scene and various doors and stairs providing exits and entrances creating lots of movement.  I loved the scene with Peter coming back from shopping, talking on the phone, moving around the kitchen totally oblivious that the Neighbour from hell was sitting on the sofa supping coffee. 

Music was used very well in the show and was chosen to reflect the subject matter in a witty way, and scene changes were swift and performed by the cast themselves.  Lighting (designed by Cody McGinty) was good and the use of the projections especially, the true crime film reel, all added to the theme. 

Costumes fitted with the theme of a middle-class family unit.  I liked the velour jumpsuit worn by Elsa complete with sweatband and her bright paintbox palette which contrasted with the subdued tones of the family perfectly reflecting her personality, and the neighbour’s outfit of dull brown clothes featuring socks and sandals reflecting his. Also, Rosie’s transformation from black and white wardrobe reflecting her teenage angst to brighter colours and cardigan as she softened and matured was well done. 

Well done Keri for bringing this hilarious black comedy to life.  Your fantastic cast including, some talented youngsters, and your incredible attention to detail created a wonderful night’s entertainment truly turning murder into art.  

Another lovely warm welcome from everyone at the Retford Little Theatre and I was delighted to meet Keri after the show and talk about some of her ideas in making her vision a reality.  Well done to all! 

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