While the play as a whole feels a little bit dated, there is still plenty to be enjoyed about John Benjamin’s production.
If there is one question that you are left wondering at the end of this delicate comedy looking at three very different couples and their relationships is why revive it now?
That is not to say that this production isn’t enjoyable and entertaining to watch because it is in many ways – particularly in terms of giving its two leading stars an opportunity to bounce off each other in terms of the sometimes sharp comedy that emerges through Neil Simon’s script but it also feels just a little bit polite and restrained.
Set in one hotel room over the course of three years, we are introduced to three very different couples and the different stages that they are in their lives. The first section introduces us to Sam, a workaholic and Karen who desperately wants his attention particularly on their 24th wedding anniversary. Together it seems that they have lost their way and in particular, Karen is feeling lonely and isolated but is able to try and challenge Sam – hitting him with some stinging lines in retaliation to his indifference. There is a beautiful tension between them that has been constructed well by Broderick and Parker but sometimes the restraint in the script can be a little bit suffocating and makes the section feel overly long. What is also interesting to note, it feels as though Broderick here is more of a supporting role, allowing Parker to take centre stage – which works well as it is ultimately about her feeling increasingly frustrated and lonely in her marriage. In her performance, Parker really explores the conflicting emotions her character is experiencing well.
Meanwhile, in the second section, we meet Hollywood producer Jesse who has invited his childhood sweetheart Muriel to visit him in his hotel suite. There is more depth in this section that allows both Broderick and Parker to explore their characters on a deeper level and you get a real sense of their unhappiness in their lives but I also found the physical comedy aspects brilliantly choreographed, allowing Broderick to really embrace his natural comedy skills.
The final act is perhaps the lightest and funniest of them all, as Roy and Norma try to find a way to coax their daughter out of the bathroom to go ahead with her wedding. The lightness of the banter between the pair is truly delightful to witness and really leaves the audience on a high note. The characters here might be selfish and want their daughter to get married for their own reasons but it actually takes the comedy to new heights.
Through his production, John Benjamin embraces the old-fashioned nature of the script (also reflected in John Lee Beatty’s formal and elegant set design), which is why you are slightly left questioning why bring it back now for a revival – but sometimes we do just need to sit back and enjoy some gentle comedy and there is no doubting that it is entertaining from start to finish. There is a lovely energy about the production as a whole that keeps the audience invested in what is happening on stage.
But of course it is Sarah Jessica Parker (making her West End debut) and Matthew Broderick who really give life to this comedy. They do well with each of their characters, showcasing different aspects of their acting skills to great effect to make it an enjoyable experience for the audience.
Overall, while Neil Simon’s play is gently funny rather than outrageously hilarious, Plaza Suite is an entertaining way to see Matthew Broderick and Sarah Jessica Parker at the top of their game.
By Emma Clarendon
Plaza Suite continues to play at the Savoy Theatre until the 13th April.
Rating: ⭐⭐⭐⭐