A play about three old folks and their interwoven relationships sounded like gentle, relaxing theatre to me. So, on a surprisingly blustery September evening, I set off for Richmond Theatre to see Daytona, leaving plenty of time to nab a precious parking spot around Richmond Green. With the charming Maureen Lipman as leading lady, accompanied by a companionable duo in Harry Shearer and Oliver Cotton, I anticipated fine acting but, I wondered - but would the storyline keep us hooked? I need not have feared. Oliver Cotton's script positively whips along, like the bitterly cold wind in the New York suburb where Jewish couple Joe (Harry Shearer) and Elli (Maureen Lipman) live in contented old age, enjoying their dancing classes and gently bickering over the small fry. The play opens with them practising their dance moves in preparation for a dancing competition the following day. But when Elli goes to her sister's for a final dress fitting, Joe's evening is disrupted by the unexpected arrival of his boisterous long-lost brother Billy, whom he hasn't seen since Billy walked out on the family business 30 years before.
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| Oliver Cotton as Billy |
Oliver Cotton not only wrote the script, he gave himself the most colourful of roles. He is terrific as Billy, pacing the apartment in nervous apprehension, running his hand through his hair and shuffling his feet. His entrance lifts the play to another level, and we are hooked - wondering who he is and why he has turned up after 30 years absence. I am always intrigued when writers act in their own plays. Do they hanker to play a particular role for many years, so eventually they write a play around that character? Or are they already mid-writing when they think, "I am fascinated by this guy, and I can do the role justice." How wonderful to have the talent, power, wherewithal - to create a role of your choice. In this instance however, Cotton says the idea for the play came 'by a poolside in the Florida resort of Daytona, an hour north of Orlando. Lying by that crowded pool I suddenly imagined the inciting moment of the play and couldn’t get it out of my head."
Without giving the plot away, it becomes clear that Billy has committed a terrible crime and hopes his older brother will bail him out. But after an absence of 30 years, Joe questions why he should. In fact, he questions everything to that point that Billy shouts are him - "Why so many Why's? Quit asking so many questions." But of course there are plenty of questions we all want to ask for Billy's outrageous story make sense. And there are questions we ask ourselves as an audience about what is right and wrong, and why can a crime committed many years ago slip through the justice system, yet be worthy of a jail sentence today? And is revenge acceptable in certain cases? Cotton explains that, as he wrote the play he became aware that Billy was seeking atonement - and because we like Billy, we kind of hope he gets it. And because this is essentially a thriller/comedy, we sometimes forget how serious a crime he has committed.
It's an enjoyably gripping play for one that looks, in the opening minutes, like it might be a quiet living room drama. It is keenly directed by David Grindley and the pace is terrific. All three actors are wonderful in their roles; Lipman is delightful, yet passionate as Eli and Shearer is endearing as her decent, but somewhat unexciting, loyal husband. Cotton explodes into their lives like a firework, dangerous yet enticing - frankly, I couldn't take my eyes off him.
Daytona is at the Richmond Theatre until Saturday September 6th, then touring. Tickets from www.atgtickets.com/shows/daytona/richmond-theatre or 0844 871 7651
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