Theatre and Dance Reviews

What can you say about Alan Ayckbourn, that hasn't already been said? Highly accessible plays with lots of humour, but with an underlying dark side that really makes you think about the issues that have been raised throughout. A Small Family Business is no exception. It may have premiered at the National in 1987 at the height of Thatcher's Britain, but its attack on consumerism and greed is just as relevant today - if not more.

A Small Family Business

In this play, honest and principled man Jack McCracken takes over the family business from his equally honest father-in-law and is determined to make it an ethical company. But all is not what it seems, and as Jack discovers more and more of his own family have been up to no good, he finds his principles compromised in a downward spiral of inevitable disaster.

Brisk

The action moves at a brisk pace, thanks to the direction of Christopher Luscombe, and, as it is revealed that Jack's scheming relatives are on the take, and that his furniture business has more than a few wobbles, amongst the laughter you can see the acquisitiveness of the 80s that, if anything, is enhanced in the 21st century. And in true Ayckbourn style, in this production the biggest laughs came at the darkest moment, which shocks you into looking at the entire play again.

A Small Family Business

In the role of Jack is Michael Garner, who many will recognise as Geoff 'Poison' Pearce of London's Burning fame. In this play he has many more metaphorical fires to put out and is well-cast as the honest man who tries in vain to keep to his principles - his horror and pain are palpable. He is supported by a large and excellent cast, from Barbara Wilshere as his wife Poppy who is trying to keep the family on an even keel, to David Holt as the sinister Benedict Hough, the private investigator trying to blackmail the company, whose understated creepiness sent shivers up my spine.

Impressive

You usually find people going on about a great set when the show is not much cop, just so that they have something positive to say. But in this case, an excellent production is further enhanced by a hugely impressive set, designed by Janet Bird. The Palace have literally built an entire house on the stage, both upstairs and downstairs, and with working features such as running water. This one house serves as the residences of all the different parts of the family, and although that's confusing the first time it happens, you soon get used to it and it works well. However, I was in the Circle and saw everything perfectly, but I did wonder if those in the Stalls could see some of the upstairs action!

This is a big production, big cast, big set and big themes which deserves a large audience.