PATRICK MARMION reviews In Praise Of Love at the Orange Tree Theatre: Neat twists and terrific acting lift period drama purgatory

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In Praise Of Love (Orange Tree Theatre, Richmond)

Verdict: Love stuck 

Letters From Max (Hampstead)

Verdict: Tragic poetry 

Terence Rattigan’s work resonates deeply within me, even though I have no Latin ancestry whatsoever. Instead, his subtle English emotions seem to stir in me an impulse for dramatic expression, reminiscent of operatic performances. Moreover, his 1973 play “In Praise Of Love” is a quintessential demonstration of Rattigan’s reserved Anglo-Saxon style.

According to reports, the story seems to have been influenced by the marriage of Rex Harrison, a friend, to his third wife among six, Kay Kendall. The plot revolves around Lydia (Claire Price), a former WWII Estonian resistance fighter who is battling a terminal illness and keeping it secret from her husband Sebastian (Dominic Rowan), a literary critic with chauvinistic tendencies.

I struggle to understand how this deception demonstrates lasting love. Instead, her submissiveness and his arrogance seem more indicative of manipulative domination.

Despite a slow-paced first half filled with excessive explanation among themselves and a compliant American companion, the latter part becomes significantly more engaging.

The beginning was slow due to too much explanation, but the end gets interesting.

The appearance of their son Joe Edgar, a Liberal Party advocate and novice author, compels them to drop vague talk or evade the issue directly.

Initially, Rowan was trapped within the limitations of a two-dimensional world. However, after some time, he was fortunate enough to be granted an additional dimension. As she hails from Estonia, Lydia, who is lively, charming, and resourceful, has ample room to express herself, and we learn about her captivating past as a resistance fighter.

For now, an emotional barrier is fortified by streams of Scotch whiskey, as Amelia Sears meticulously directs us through a nostalgic journey on Peter Butler’s Scandinavian-painted floorboards, G-plan furniture, and cozy bell-bottom trousers. However, with some clever plot twists and outstanding performances, we are eventually freed from Rattigan’s time-bound limbo.

Downstairs at the Hampstead Theatre, there’s an abundance of heartfelt tributes being paid to the late American poet, Max Ritvo, who passed away from cancer in 2016 at the age of 25.

His story is told in letters exchanged with his writing tutor, Sarah Ruhl, at Yale University.

The play, penned by Ruhl herself, follows the evolution of their relationship during the final years of his life, capturing his fear of what he terms ‘chemo-land’, her growing admiration for his exceptional literary abilities, and their joint exploration of life’s profound mysteries, including the nature of death.

In my contemplations, I ponder that dreams reveal a realm surpassing our earthly existence… yet, death isn’t that transcendent life. Elsewhere, my musings are less direct and significantly, my poetry – abundant as it is – leans more towards introspection than instigation, failing to spark transformation.

Despite not being deterred, Eric Sirakian becomes deeply involved in the character Max, showcasing him as a forward-thinking child. Similarly, Sirine Saba is fully invested in her empathetic portrayal of Ruhl. Blanche McIntyre’s production takes us on a descent into the underworld, retelling the story of Orpheus and Eurydice with a sleek black stage design, accompanied by a cellist, Laura Moody, whose music oscillates between cheerful and melancholic tones.

As a follower, I find that one’s appreciation for Ritvo’s poetry greatly varies. His immense talent is undeniable, yet tragically, the fullness of his potential remained untapped due to the insufficient time he had to grow and evolve as an artist.

In Praise Of Love runs until July 5. Letters From Max is on until June 28.

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2025-06-06 02:34