The revival of Kevin Elyot’s play is filled with barbed humour but can lack the emotional side that draws the audience in.
Open relationships, attitudes to casual sex and communication lie at the centre of this sharply written if slightly lacking emotional heart that would pull the audience into the lives of the characters at the centre of it more and an ending that feels abrupt
The story concentrates on the relationship between Tony and Greg who are about to celebrate their fifth anniversary together (but are also in an open relationship) – but whose lives are disrupted with the arrival of their new cleaner Robert, who quickly finds himself very much involved with their relationship – particularly given a tense dinner party.
Kevin Elyot’s play it has to be said has plenty of of sharp lines that really zing throughout, making the increasingly tense conversations stand out powerfully and you get a real sense of each characters personality. Elyot cleverly shows how the lines of communication break down, leading to changes in the central relationship and frank conversations – particularly when a shocking revelation is made. It feels honest and naturalistic in the way it portrays this relationship. The trouble is as a play it doesn’t feel as though it goes deep enough into the issues it is seeking to explore, just when you think the play is going one way the conversation is abruptly changed.
With a cosy set design by David Shields (which can feel a little bit cramped given the size of the stage), Andrew Beckett’s production feels suitably intimate highlighting why the Turbine Theatre is the perfect venue for this play and is really powerful in the quieter and more introspective moments. The production highlights the pain that Tony feels when he realises his relationship isn’t quite what he thought it was as well as the complexities of relationships but I feel as though there is still more to be said about what happens to their friend William in the wake of being aggressively attacked.
Yet despite the intimacy that can be found, there just feels also a slight emotional disconnect, almost as though the production is in a bit of a hurry to get to the end – not helped by the fact that the play ends on an ambiguous note that feels dissatisfying. Yes life can be messy and sometimes there are things that can’t be answered, but here there certainly could have been.
The performances are all solid, in particular Yannick Budd as Tony shows great sharpness in terms of the way in which he delivers his lines – a combination of vulnerability and sharpness as he responds to Alexander Hulme’s Greg’s indifference and pompousness. Hulme offers a suitably dry and upright performance that works in perfect balance with Budd. Theo Walker as Robert has a real energy about him that works really well for the character, while Sam Goodchild shows great strength in both the comical moments as well as vulnerability in the character of William.
This is a play that has good intentions at heart but it just lacks a stronger emotional quality at its centre to make it powerful. But it is still entertaining and a strong cast make it worth watch.
By Emma Clarendon
Coming Clean continues to play at the Turbine Theatre until the 20th April.
Rating: ⭐⭐⭐