Having attempted suicide at the opening of this 1952 play, Terence Rattigan’s heroine, Hester, is discovered by her neighbours and landlady. These roles (played by Lisa Ambalavanar, Preston Nyman and Selina Cadell) can be overlooked for their exposition and period detail. But Lindsay Posner’s careful revival of the play takes them seriously. Yes, the piece is sure to strike you as old-fashioned – full of stiff upper lips and repression. But the depth of emotions Rattigan depicts is powerful and this production makes the most of a skilful work.
Hester’s desperation comes from her love affair with Freddie, a former fighter pilot she left her respectable life for, abandoning her husband, Bill, who still loves her. Rattigan structures encounters with them between them by turns, in a somewhat stilted manner. But these men aren’t just, respectively, a feckless cad and a successful lawyer. Their emotions run deep and they are confused, even frightened by how much they feel. The results are fascinating portraits of masculinity that Nicholas Farrell and Hadley Fraser explore with skill.
It’s hard not to feel for those who have fallen for Hester – even if they treat her badly. As the object of their affectation, Hester is a commanding role that proves a triumph for Tamsin Greig. With the combination of wit and fragility Rattigan crafted so carefully it is easy to see how she captivates everyone around her in the lodging house (which is a little too shabby in Peter McKintosh’s design). Despite her aloofness and more than a few snide asides, Greig makes us care for Hester. The pain she feels around her love affair is deeply sad.
There is more to Hester than just tragedy. Might this be the key to the enduring appeal of the piece? Here is a female lead who goes beyond being defined by the men in her life (no matter how important a part they play) and it’s Greig’s ability to show this that makes her performance so strong. Hester knows how doomed her relationships are – it accounts for her depression and goes beyond it. Love consumes her, but her passion and lust are never blind.
There’s a final relationship for Hester that highlights the importance of that self-knowledge. Mr Miller is a neighbour who has been struck off as a doctor, who helps and then befriends her. Finbar Lynch, who takes the part, leans into the oddity of the character; it’s uncomfortable at times but shows an appreciation of the part. Rattigan (and Miller) have a view of life that is as bleak as any kitchen sink dramatist’s. There are plenty of links to the author’s painful biography if you want them. But the two outsiders in The Deep Blue Sea find a clear-eyed comfort in one another. The relief this brings to the audience is an indication of how accomplished Posner’s revival is.
Until 21 June 2025
Photos by Manuel Harlan