Terence Rattigan may be less often performed these days but his work is much more appreciated now than it sometimes was in his lifetime. Part of the reason for that is the necessity of the time for writing about some issues obliquely or by inference, in order to meet the censorship requirements of the Lord Chamberlain. Some of us are old enough to remember the stultifying effects of that system, so it is good to see original uncensored versions of work from that time appearing again on stage.

Summer 1954 is made up of two one act plays, the first being Table Number Seven from Separate Tables. As it is being presented without its usual accompanying piece, Table by the Window, some of the material from that play has also been added to this production, which originated at the Theatre Royal Bath. James Dacre’s production makes good use of a revolving stage (designer Mike Britton) to suggest the stifling setting of a mundane hotel in Bournemouth. In addition to seeing dialogue centre stage, we are also aware of other events and interactions taking place in corridors and even outside the hotel as the stage revolves. The main characters are deftly sketched in by a combination of Rattigan’s economical writing, thoughtful direction by Dacre, and a very strong cast.

It is the vastly experienced, older members of the company who make their mark, enabling us to understand everything about them from a quick exchange, a look across a room or a faltering remark. Richenda Carey is a glorious Miss Meachum, nicely contrasted with Pamela Miles as a mostly hesitant Lady Matheson. Centre stage metaphorically and in fact are Mrs Railton-Bell and her daughter. As the browbeaten Sybil, Alexandra Dowling gives a heartfelt and convincing performance. Commanding the role of her mother is the always impressive Siân Phillips, terrifying all around her and totally audible where some of her younger colleagues may be less adept at projection. It is a masterclass in how to make the most of such an unsympathetic character and yet win audiences round at the same time. Good to see another master class from other cast members in the lost art of cigarette-acting too.

As the supposed Major, Nathaniel Parker is also highly effective; his part much more convincing now that his misdemeanours amount to importuning men on the Esplanade, as Rattigan originally intended. The final scene, with a number of characters finding new courage, and Mrs Railton-Bell trounced, are as stunning as ever, and given extra poignancy by the highly atmospheric music from Valgeir Sigurðsson.

Parker plays the central role in the more familiar The Browning Version, a staple of the amateur theatre scene, and seen on film and stage on many occasions. In this production, Crocker-Harris is not quite the dry and desiccated creature usually portrayed, perhaps to make him more immediately sympathetic, although Rattigan has really done all that is required in that direction. Parker manages the sudden breakdown well however, always a test for the actor playing the role, and if he is not quite as fierce and forbidding as expected, he is always convincing when facing the many disappointments in his life. As the visiting pupil Taplow, Bertie Hawes hits all the right notes even if not looking quite young enough to be a member of the Remove. Once again, it is the key female role that is portrayed with a formidable determination and selfishness, and Lolita Chakrabarti is the definitive Millie Crocker-Harris.

Rattigan was unfairly written off for too long, and the pairing of Table Number Seven with the more familiar The Browning Version should introduce new audiences to his skilful and timeless dramatic works. James Dacre’s production is masterly and makes good use of a large cast, many of whom are not seen often enough on our stages.

***** Five stars

Reviewed by: Chris Abbott

Summer 1954 plays at Richmond Theatre until 1 February before visiting Cheltenham and Oxford, with further info here.