Playing at The Atkinson last week, Just Between Ourselves is an Alan Ayckbourn comedy-drama. Written and set in 1976, it offers a thoughtful journey back to nearly 50 years ago. Presented by London Classic Theatre—who previously brought you Abigail’s Party—this is a thought-provoking play with an ahead-of-its-time perspective and a sensibility that doesn’t feel out of place today.
With a small cast of five actors and a static set comprising the garage and back patio of a suburban home, we drop in on the events of four different days over the course of a year. No overt plot presents itself, particularly in the first act; instead, we really dig into the characters—two couples and a mother-in-law. We get to know their idiosyncrasies, worldviews and relationships. The restless may find themselves asking, “When is something going to happen?” But keep watching closely: all the action is happening behind the characters’ eyes. The ‘something’ does come in the second act, but the story remains mostly in the subtext.
The naturalistic dialogue is never overdone, with gentle humour arising from farcical moments, nostalgic 70s references, and excellent comedic performances. The show really shines in the drama and pathos of its characters. It examines mental health, lost generations, gender expectations and generational trauma. It illustrates how cultural, social and financial pressures were misserving and trapping people at the time the play was written. These themes, while inherent in the text, would be lost without the excellent cast and creative team.
The set and costume design, by Elizabeth Wright, is just as detailed as the script. A believably cramped and chaotic garage interior (even featuring a Mini Mark 2!) feels richly authentic. Great care has gone into the period accuracy. The set dressing is wonderfully evocative, down to the folding garden chairs, nostalgic brand logos, and meticulous costuming. Despite several changes for the characters, the wardrobe maintains a cohesive sense of personal style for each of them throughout. The costumes for Marjorie and Vera are especially effective, reflecting and counterbalancing one another as the show progresses, mirroring their mental states, projected confidence, and place within the household, particularly pointedly in the final scene.
The performances are the standout aspect of this production. Directed by Michael Cabot, it’s clear he has worked with the cast to achieve unified and thoughtful portrayals. The line deliveries are pitch-perfect, often revealing a lie, half-truth or unspoken tension with just a glance or hesitation. Tom Richardson sells the light-heartedness that Denis so desperately clings to, avoiding certain realities. Although Neil is the character we gain the least insight into, Joseph Clowser brings sharp comedic timing and believable cluelessness. Helen Phillips is excellent as Pam, portraying stifled passion and potential with emotional nuance. Connie Walker gives a brilliant character performance as Marjorie, with impeccable comic timing and physical humour. Finally, Holly Smith’s turn as Vera is especially commanding, capturing the character’s inner turmoil with raw emotion. The actors transition seamlessly from light-hearted moments to emotionally charged scenes, revealing impressive range and grounding the play’s humour in genuine human experience.
In all, Just Between Ourselves is a quietly powerful production that rewards close attention. With strong performances, sharp direction and a thoughtfully realised design, it offers both a nostalgic glimpse into the 1970s and a sobering reflection on issues that still resonate today. Ideal for those who appreciate character-driven storytelling.
★★★★
Reviewed by Jenny Cope
