National Theatre Live: The Deep Blue Sea

Rattigan wrote some fine, incisive plays and some that were less so. This play was originally (prior to performance and publication) about his obsessive secret relationship with Kenny Morgan, and their breakup.

Translated to a heterosexual relationship -- a woman wooed away from her marriage by a magnetic cad and now obsessed with him -- it really doesn't offer modern audiences anything noteworthy or new to think about. Possibly it did in 1952 when it was first produced, but not now. The only real insight we get into human nature is from a kind and thoughtful single speech by Miller, the doctor. The rest we've seen for decades on daytime talk shows and on reality shows, not to mention dozens or hundreds of films.

Set solely in the living room of one apartment, it is a talky drawing-room piece that goes nowhere, although it does go round and round. I for one didn't see a lot to rave about in it.

Rattigan has written plays that are infinitely more compelling for 21st-century audiences than this one.

After watching the Terence Rattigan DVD collection (with most of the adaptations being from the 70s and 80s) when staying with family friends last year, Rattigan very quickly became one of my favourite playwrights and he still is. His dialogue is so intelligent, witty and meaty, his characterisation so dynamic, complex and real and the storytelling so beautifully constructed.

'The Deep Blue Sea' may not be among my favourite Rattigan plays ('The Browning Version', 'The Winslow Boy', 'Separate Tables'), but it's still wonderful and distinctively Rattigan. The writing is 24-carat Rattigan and the story is timeless in its searing emotion and romantic passion. It's very sharply observant and witty at times too. Saw this production at Cineworld when it first came out, but somehow forgot about reviewing it amidst a heavy music course workload and being behind with film watching, very odd for a production that left a big impression on me. Found my notes taken for the production recently and finally got round to reviewing it with those notes as a guide.

Presently, this production of 'The Deep Blue Sea' is not available on DVD. This is sad, because it is a fantastic representation of the play and of Rattigan in general, proof that 'The Deep Blue Sea' works even better on stage (as intended in the first place) as it does on film/television. Of the four film/television/live simulcast versions seen of 'The Deep Blue Sea' (the others being the ones with Penelope Wilton, Vivien Leigh and Rachel Weisz), this one is the best which is why it deserves a DVD release.

It's not quite perfect. The sound effects and scoring are too intrusive which occasionally hurts the intimacy of the mood.

However, 'The Deep Blue Sea' is a beautiful-looking production, being evocatively designed and costumed that will appeal to traditional and contemporary audiences. Didn't think it was too busy despite a lot going on, the production actually is designed in a way that contrasts with and takes one away from Hester's claustrophobic world. The photography captured the atmosphere of it very well.

The script is thought-provoking and observant, with the production capturing every ounce of the wit, nuances, depth and verve of Rattigan's writing. The story sears in emotion and even with a less charming Freddie to usual very romantically passionate, the ending is not quite Rattigan's but is still powerful and moving.

Carrie Cracknell captures the spirit of the original source material and with full understanding of Rattigan's intentions, also directing in a way that will delight traditionalists and also bring in a contemporary audience providing that Rattigan's style and subjects are not deemed too old-fashioned.

On top of that, we have the heart-wrenching and deeply felt, with some impeccably witty timing too, Hester of Helen McCrory to carry and rightly dominate the proceedings. Tom Burke is a passionate and full of panache leading man, and Cracknell clearly understood that the supporting cast is important in 'The Deep Blue Sea' because they are uniformly very good (though none quite as exceptional as McCrory). Particularly Nick Fletcher's kindly Miller and Peter Sullivan's intense Collyer.

In summation, electrifying. 9/10 Bethany Cox