Good Grief

Grief naturally follows a bereavement in the family. Sometimes however, there is a humorous side. Therry Theatre have picked a winner in Good Grief by Keith Waterhouse (of Billy Liar fame). Despite a seemingly melancholy premise, it is packed with its share of laughs and life lessons.

Returning from the memorial service for her husband, a tough tabloid editor cut down in his prime, June Pepper sets about following his instructions to keep a journal as therapy. But both grief and the journal prove elusive. Distracted by a problem stepdaughter and by a liaison with a man she discovers wearing one of her husband's old suits, June finds bereavement far from straightforward. And as she empties skeletons from closets, she learns there is far more to life than death.

A twist to the story of the stages of grief is the mystery of a packet of letters written by June’s husband Sam’s daughter when a child, and their contents in act two halt the laughter and almost bring tears, and even more anger to June who feels she has been betrayed.

Presented over two acts with seventeen scenes, Good Grief  is set in June Pepper’s house and the ‘local’ down the road. The action cross fades between the two venues with brief scene changes to change costumes. It is a pity that the longest scene changes were near the end of the play, but this was unavoidable.

This production has much to commend it. Director Angela Short ensures the action flows smoothly and the characters develop, finding their way into our hearts. Her characters are well drawn and totally believable.

The set is striking, designed by Don Oswald and lit by Harry Ferguson. The mid blue lounge room gives ample room for the action, and the tan ‘local’ is cosy as British pubs tend to be. The architectural detail on top of the walls is impressive. Gilian Cordell and Sandy Fathfull’s costumes are true to the period,  particularly Duggie’s ‘suit’, a monstrosity of  blue check. Well done! Anne-Louise Smith’s hair and wig styling are spot on giving June and Pauline an eighties’ look.

The cast of Good Grief is headed by the incomparable Sue Wylie. Hardly ever off-stage, everything revolves around the character of June, and Wylie  brings stamina to the role, but also a down-to-earth take on death as she puts a comedic spin on events in her life. It’s a performance of warmth, compassion and honesty. At times she bears a striking resemblance to Imelda Staunton.

Peter Davies’ gives ‘the suit’ (so named because he wears one of June’s husband’s cast-off suits from Oxfam) humanity in buckets, although we become suspicious when he asks for money. Davies’ ‘the suit’ is a perfect foil for Wylie and their scenes are memorable.

Monika Lapka’s Pauline tries to be helpful, but is anxious to get her stepmother off the bottle and outside for some food, but she has her own problems. Lapka endeavours to balance Pauline’s needs with her stepmother but does not always succeed. Her character is strongest is Act 2.

Tom Tassone as Eric Grant faces the difficult job of playing an essentially slimy, but at the same time likable character. His ingratiating smile betrays his inner character as he enjoys every minute of teasing with a set of mysterious letters found at work in Sam’s desk.

My only reservation was with Act one, which seemed a little slow to get going. This could have been opening night nerves though. Once established,  the play picked up pace, particularly in Act 2.

Good Grief  addresses the depth and complexity of feeling after the death of a loved one— Relief and hope can be found in the most obscure places – in a large brandy, a holiday, a friend, or – as Good Grief shows – even a night at the Arts Theatre!

Barry Hill OAM

Photographer: Don Oswald