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All on Her Own Review – a curio of repressed emotion

First published on Sun 21 Feb 2021 05.30 EST Terence Rattigan has long been rescued from the theatrical limbo into which he was cast by Kenneth Tynan and the ironing board. Qualities that caused him to be despised – reticence, obliqueness – now often appear to be not evasions but subtleties. The Deep Blue Sea (1952) has dated better than Look Back in Anger Yet All on Her Own, first seen on television in 1968, is more curio than treasure. This half-hour monologue features a woman returning to her Hampstead home from a party. Alastair Knights’s sumptuous production provides a rarity in streamed drama: a glimpse of more than one room, as she glides from semi-darkness into light. She is alone; she has recently been widowed. The questions that arise, with more force as she hits the whisky, are to do with victimhood. Is this a sad or a sinister woman? Was her husband’s death truly an accident or did he kill himself? Did she suck the air from their marriage by he

Lucy Popescu s theatre news: Outside; The Experiment; All On Her Own; Songs For A New World

Lambert Jackson Productions’ Songs For A New World, by award-winning composer Jason Robert Brown, is on stream.theatre for one week from Feb 21. Filmed on the artists’ smart phones during lockdown, Séimí Campbell directs Rachel John, Ramin Karimloo, Cedric Neal, Rachel Tucker and Shem Omari James, with musical supervision by Adam Hoskins, musical direction from Josh Winstone and video editing by Danny Kaan. Sitting between musical and song cycle, this moving collection examines life, love, and the choices we make as it transports audiences through time and space to the summer of 2020. £15 + transaction fee, on demand until Feb 28, stream.theatre

Review: All On Her Own (Online production)

© Danny Kaan The playwright Terence Rattigan and the actress Janie Dee are both experts on the subtleties of regret, on the distance between what you hope for and what you experience, on the difficulty of putting a brave face on sorrow. Whoever had the idea of getting Dee to star in Rattigan s 1968 monologue, about a grieving widow, originally written for TV, is to be congratulated for providing us with a mini lockdown masterpiece, a 25-minute study of mismatched love that speaks much more loudly than many longer more elaborate productions. Dee plays Rosemary, sitting alone in her London home, getting quietly woozled as her late husband Gregory would have called it, with the whisky decanter emptying rapidly in front of her. As she drinks, she mulls over the circumstances of his death, on this very sofa, at this very time, from a combination of alcohol and sleeping tablets. Was it an accident as the police and the coroner have decided or was it deliberate? She will never know.

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