{"id":9741,"date":"2019-02-14T16:22:56","date_gmt":"2019-02-14T16:22:56","guid":{"rendered":"https:\/\/laughfrodisiac.com\/\/?p=9741"},"modified":"2019-04-16T12:36:56","modified_gmt":"2019-04-16T12:36:56","slug":"home-im-darling-at-the-duke-of-york-londons-best-new-ish-play-of-2019","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/02\/14\/home-im-darling-at-the-duke-of-york-londons-best-new-ish-play-of-2019\/","title":{"rendered":"Home, I\u2019m Darling at the Duke of York: London\u2019s Best New (ish) Play of 2019"},"content":{"rendered":"\n
\"Picture\"\/<\/figure><\/div>\n\n\n\n

It\u2019s Theatre Thursday! Today we are talking about Home, I\u2019m Darling, which is currently playing on the<\/em>West End<\/em> at the Duke of <\/em>York<\/em> theatre. <\/em>
\u200b
\u200bIf this picture looks familiar to you, it\u2019s for a good reason: we looked at the new play Home, I\u2019m Darling<\/a> only five months ago, when it played London\u2019s National Theatre. Further confusing the rules about what constitutes West End and what doesn\u2019t (and more confusingly, since shows at the National are sometimes eligible for Olivier Awards, what the fork the Olivier eligibility is), this play that I absolutely adored last time around has transferred to the official West End. Funnily enough, I saw the very last performance of this show at the National, and I didn\u2019t realize until the interval that I was at the very first preview performance of this West End run, so even though they were five months apart, I saw back-to-back performances. Usually I would frown upon any public critique of a first preview, since they are supposed to be used for making changes. But I have nothing but praise for this show, so I don’t think they’ll mind. Despite a few changes from the last go round, the show was just as I remembered, except tighter and maybe even more enjoyable.
<\/p>\n\n\n\n

\n\n\n\n

 Home, I\u2019m Darling, the pitch perfect comedy from Laura Wade, is the story of Judy (Katherine Parkinson, perfect as ever) and Johnny (Richard Harrington), a married couple who decides to fully immerse themselves in the \u201850s lifestyle they admire by having Judy stop work to become a housewife. Judy is devoted to cleaning the house with era-appropriate methods, cooking era-appropriate meals, wearing era-appropriate clothes (the costumes are still amazing) and generally letting her husband lead the way. While the concept could easily become cartoony, or fail to connect if audiences (like me) think \u2018that\u2019s a bad move, Judy\u2019, the play delves into all the issues around this kind of lifestyle and all the problems people would encounter whether they are fully on board or not, making the story much more thought-provoking and interesting than it\u2019s (incredible) candy-colored set would have you initially guess. Doing this in such a masterful way means the whole \u201850s thing is kind of just a framing device for analyzing a typical marriage and the problems couples face after a certain amount of time. I can\u2019t think of another modern play that explores the intricacies of the relationship between husband and wife in such a compelling way while remaining as entertaining and funny.

As ever, Katherine Parkinson gives a star performance, with every decision and movement the property of Judy, even, I believe, the intriguing tone of her voice and manner of delivery. But my real surprise here was Harrington, who didn\u2019t strike me the last time through as Parkinson did. With the passage of time, he has really come to understand Johnny and make his decisions much more convincing and understandable. Together, the two are flawless.

Excitingly, the rest of the cast is mostly changed, and all the newcomers were giving spot-on performances at the first performance. Judy\u2019s mother, now played by Susan Brown, continues to be the persuasive voice of reason, at least to me, in her quest to end this game of her daughter\u2019s that is wasting her potential. It\u2019s a small role, though the mother does get some great monologues, but Brown makes her presence felt so strongly and does so much with what she has that she seems a much bigger character.

I was upset at first to see that Judy\u2019s friend Fran was recast, because at the National, Fran was played by the only actor of color in the whole cast (Kathryn Drysdale). Being a woman of color gave Fran\u2019s interest in following Judy\u2019s lead as a \u201850s-style housewife even more depth, and could have been enhanced to show her assessment of the role. But the new Fran, Siubhan Harrison, really is fantastic. I\u2019ve only seen her in musicals before, so I was impressed by her performance in this straight play. My absolute favorite small moment of the whole show came from her: when Fran and her husband Marcus (still an entertaining scumbag!) are at Judy and Johnny\u2019s house having tea, and Judy brings out her ridiculous achievement of a cake (which Marcus proclaims the best he has ever had), Judy cuts herself a piece and I noticed she shoved the rest of her slice of the \u2018interesting\u2019 cake that Fran brought back onto the serving tray. As everyone kept talking and the focus was elsewhere, Fran looked downward for a second and seemed embarrassed. I found this moment incredible, doing so much in literally one second when we\u2019re not even supposed to be looking at Fran.

Yet everything in this play feels this detailed, from the delightful set (and that Act II change, wonderful) to the accurate costumes to the never-ending ballet of food. I mentioned last time that I\u2019ve never seen so much food in a play before. I think we see Judy preparing all three of Johnny\u2019s daily meals (plus snacks and drinks and dessert) for every day we see. I don\u2019t know how they keep it all straight (and I really hope it doesn\u2019t all go to waste). But every aspect of the play had to be this precise to keep up with the writing, which is engaging and unpredictably captivating. Home, I\u2019m Darling is such an unexpected gem that I can\u2019t help but love.  

INFORMATION<\/strong>
Every single other piece about this show annoyingly repeats \u201cfor 11 weeks only\u201d so I will give you the actual end date: April 13. Was that so hard, everyone else?

After the run on the West End, the show will be touring the UK, with dates in Bath, Salford, and back to its Welsh home of Theatre Clwyd which no I have no idea how to pronounce, it\u2019s probably like Smith or something. <\/p>\n\n\n\n

The show is 2 hours 30 minutes with one interval. Like all West End theatres, the Duke of York is in need of a refurb, especially when it comes to the bathrooms – if you sit in the front right stalls, the closest ladies room is up the stairs in the mezzanine, which is very, very stupid.<\/p>\n\n\n\n

It\u2019s Theatre Thursday! Today we are talking about Home, I\u2019m Darling, which is currently playing on theWest End\u00a0at the Duke of\u00a0York\u00a0theatre.\u00a0<\/em>
\u200b
\u200bIf this picture looks familiar to you, it\u2019s for a good reason:\u00a0we looked at the new play Home, I\u2019m Darling<\/a>\u00a0only five months ago, when it played London\u2019s National Theatre. Further confusing the rules about what constitutes West End and what doesn\u2019t (and more confusingly, since shows at the National are sometimes eligible for Olivier Awards, what the fork the Olivier eligibility is), this play that I absolutely adored last time around has transferred to the official West End. Funnily enough, I saw the very last performance of this show at the National, and I didn\u2019t realize until the interval that I was at the very first preview performance of this West End run, so even though they were five months apart, I saw back-to-back performances. Usually I would frown upon any public critique of a first preview, since they are supposed to be used for making changes. But I have nothing but praise for this show, so I don’t think they’ll mind. Despite a few changes from the last go round, the show was just as I remembered, except tighter and maybe even more enjoyable.
<\/p>\n\n\n\n

\n\n\n\n

 Home, I\u2019m Darling, the pitch perfect comedy from Laura Wade, is the story of Judy (Katherine Parkinson, perfect as ever) and Johnny (Richard Harrington), a married couple who decides to fully immerse themselves in the \u201850s lifestyle they admire by having Judy stop work to become a housewife. Judy is devoted to cleaning the house with era-appropriate methods, cooking era-appropriate meals, wearing era-appropriate clothes (the costumes are still amazing) and generally letting her husband lead the way. While the concept could easily become cartoony, or fail to connect if audiences (like me) think \u2018that\u2019s a bad move, Judy\u2019, the play delves into all the issues around this kind of lifestyle and all the problems people would encounter whether they are fully on board or not, making the story much more thought-provoking and interesting than it\u2019s (incredible) candy-colored set would have you initially guess. Doing this in such a masterful way means the whole \u201850s thing is kind of just a framing device for analyzing a typical marriage and the problems couples face after a certain amount of time. I can\u2019t think of another modern play that explores the intricacies of the relationship between husband and wife in such a compelling way while remaining as entertaining and funny.

As ever, Katherine Parkinson gives a star performance, with every decision and movement the property of Judy, even, I believe, the intriguing tone of her voice and manner of delivery. But my real surprise here was Harrington, who didn\u2019t strike me the last time through as Parkinson did. With the passage of time, he has really come to understand Johnny and make his decisions much more convincing and understandable. Together, the two are flawless.

Excitingly, the rest of the cast is mostly changed, and all the newcomers were giving spot-on performances at the first performance. Judy\u2019s mother, now played by Susan Brown, continues to be the persuasive voice of reason, at least to me, in her quest to end this game of her daughter\u2019s that is wasting her potential. It\u2019s a small role, though the mother does get some great monologues, but Brown makes her presence felt so strongly and does so much with what she has that she seems a much bigger character.

I was upset at first to see that Judy\u2019s friend Fran was recast, because at the National, Fran was played by the only actor of color in the whole cast (Kathryn Drysdale). Being a woman of color gave Fran\u2019s interest in following Judy\u2019s lead as a \u201850s-style housewife even more depth, and could have been enhanced to show her assessment of the role. But the new Fran, Siubhan Harrison, really is fantastic. I\u2019ve only seen her in musicals before, so I was impressed by her performance in this straight play. My absolute favorite small moment of the whole show came from her: when Fran and her husband Marcus (still an entertaining scumbag!) are at Judy and Johnny\u2019s house having tea, and Judy brings out her ridiculous achievement of a cake (which Marcus proclaims the best he has ever had), Judy cuts herself a piece and I noticed she shoved the rest of her slice of the \u2018interesting\u2019 cake that Fran brought back onto the serving tray. As everyone kept talking and the focus was elsewhere, Fran looked downward for a second and seemed embarrassed. I found this moment incredible, doing so much in literally one second when we\u2019re not even supposed to be looking at Fran.

Yet everything in this play feels this detailed, from the delightful set (and that Act II change, wonderful) to the accurate costumes to the never-ending ballet of food. I mentioned last time that I\u2019ve never seen so much food in a play before. I think we see Judy preparing all three of Johnny\u2019s daily meals (plus snacks and drinks and dessert) for every day we see. I don\u2019t know how they keep it all straight (and I really hope it doesn\u2019t all go to waste). But every aspect of the play had to be this precise to keep up with the writing, which is engaging and unpredictably captivating. Home, I\u2019m Darling is such an unexpected gem that I can\u2019t help but love.  

INFORMATION<\/strong>
Every single other piece about this show annoyingly repeats \u201cfor 11 weeks only\u201d so I will give you the actual end date: April 13. Was that so hard, everyone else?

After the run on the West End, the show will be touring the UK, with dates in Bath, Salford, and back to its Welsh home of Theatre Clwyd which no I have no idea how to pronounce, it\u2019s probably like Smith or something. <\/p>\n\n\n\n

The show is 2 hours 30 minutes with one interval. Like all West End theatres, the Duke of York is in need of a refurb, especially when it comes to the bathrooms – if you sit in the front right stalls, the closest ladies room is up the stairs in the mezzanine, which is very, very stupid. <\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Thursday! Today we are talking about Home, I\u2019m Darling, which is currently playing on theWest End at the Duke of York theatre. \u200b\u200bIf this picture looks familiar to […]<\/p>\n","protected":false},"author":2,"featured_media":9742,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[147],"tags":[],"yoast_head":"\nHome, I\u2019m Darling at the Duke of York: London\u2019s Best New (ish) Play of 2019 - Laughfrodisiac<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laughfrodisiac.com\/2019\/02\/14\/home-im-darling-at-the-duke-of-york-londons-best-new-ish-play-of-2019\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Home, I\u2019m Darling at the Duke of York: London\u2019s Best New (ish) Play of 2019 - Laughfrodisiac\" \/>\n<meta property=\"og:description\" content=\"It\u2019s Theatre Thursday! 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