Curtains Up

Curtains Up: Review of Home, I’m Darling

Home, I’m Darling
Duke of York’s Theatre, London
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Following a sold-out run at the National Theatre, Laura Wade’s ‘piercingly funny’ new play transfers to the West End for 11 weeks only. Katherine Parkinson (The IT Crowd, Humans) reprises her acclaimed role as Judy, in Laura Wade’s fizzing comedy about one woman’s quest to be the perfect 1950’s housewife. How happily married are the happily married? Every couple needs a little fantasy to keep their marriage sparkling. But behind the gingham curtains, things start to unravel, and being a domestic goddess is not as easy as it seems.

What the Press Say:

“Katherine Parkinson is outstanding. An amusing, affecting, inspiring evening of soft gingham and hard truths.”
The Times

“A cracking new play wittily directed on a fabulous fifties doll-house set.”
Mail on Sunday

“Sharp, funny and sad. Katherine Parkinson is brilliant.”

Our Reviewer says:

It’s a strange experience to write a review of a play I haven’t seen in its entirety!  Let me explain. All the seats for this play were sold out well in advance of its opening in the West End. Having read rave reviews about its previous performances outside the West End I was desperate to see it ….to the extent that I and my fellow playgoer sat in restricted view seats. And they were restricted to the extent that we couldn’t see all the action! It’s a tribute to the play that, nevertheless,  we thoroughly enjoyed it. Katherine Parkinson  (previous acting roles included being Doc Martin’s receptionist)  commanded the stage. The other actors played their parts more than creditably, but all eyes and ears were on Katherine who played the part of Judy a modern-day woman living out the dream as a would be 50’s housewife. Fantastic 50’s interior and wonderful 50’s clothes and don’t forget the music ‘Why must I be a teenager in love?’ etc etc. Why is she living as if she was a 50’s housewife? The play tells you why and there are a few surprises along the way. The play makes the telling point that we mustn’t get carried away by nostalgia. Katherine’s mother lived through the 50’s. She tells her daughter sharply that it wasn’t all about swishing about in full skirted gingham dresses. It was cold and grey with no central heating and the food was dire. My only quibble is that the reasons behind her adopting a 50’s lifestyle seem a bit thin and rather unlikely but this does not preclude any theatre goer being transported joyfully back to the mock 50’s.

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