Just Between Ourselves - UK Tour - Review

★★★★☆

Alan Ayckbourn’s Just Between Ourselves is a darkly comic exploration of domestic dysfunction and emotional manipulation, set in the seemingly mundane world of suburban life. London Classic Theatre’s 25th-anniversary production, directed by Michael Cabot, brings the classic to life at Derby Theatre with a performance that is both hilariously entertaining and deeply unsettling. But how does a play written in 1976 remain relevant in contemporary theatre?

Helen Phillips as Pam, Tom Richardson as Dennis © Will Green Photography

The play follows Dennis, a relentlessly cheerful yet obliviously controlling husband, and his increasingly fragile wife, Vera, whose mental health deteriorates under the weight of his well-meaning but suffocating behaviour. As the story unfolds across a series of birthdays, the true dynamics of the household are gradually exposed, including the interference of Dennis’s overbearing mother and the strained marriage of their acquaintances, Neil and Marjorie. With its creeping sense of unease masked by everyday British politeness, Just Between Ourselves is a subtly unsettling examination of control and the unspoken tensions that simmer beneath the surface of ordinary lives.

Tom Richardson takes on the role of Dennis with a sprightly charm that immediately draws the audience in. Forever smiling and full of cheer, Richardson perfectly captures the idiom ‘laughter is the best medicine’. His comedic instincts are razor-sharp, and Monty Python-esque physicality makes Dennis genuinely funny, almost lovable, which only heightens the contrast with the play’s darker final moments.

As Vera, Holly Smith delivers a performance of quiet devastation. In the early scenes, her frenetic energy and upbeat mannerisms feel almost whimsical, until it becomes painfully clear they’re a smokescreen hiding deep emotional wounds. Her descent into a deep depression is chillingly effective. Smith commanded the audience's attention even while silent and motionless; while people fuss over her, Vera becomes a ghost in her own life. It is in these silent, heart-wrenching moments that Smith’s talent truly shines. Her characterisation makes you want to intervene, to reach out, to scream for her.

Connie Walker as Marjorie, Holly Smith as Vera © Will Green Photography

As the audience enters the auditorium, they’re greeted by Elizabeth Wright’s cleverly detailed set, a cluttered, claustrophobic garage that immediately sets the scene. This domestic hideaway, filled with tools, shelves, and the all-important car, becomes the play’s central battleground. It’s not just a garage; it’s where Dennis escapes from dealing with his wife and mother. Tom Richardson leans into this beautifully, rarely stepping outside the space unless necessary, reinforcing the idea that this is where Dennis feels most secure, even as the rest of his life quietly disintegrates.

Holly Smith as Vera, Helen Phillips as Pam © Will Green Photography

Connie Walker brings a well-pitched performance as Marjorie, Dennis’s mother. It would be easy for this role to tip into broad caricature, but Walker toes the line between the absurd and the authentic. Her portrayal is outlandish but never loses sight of the character’s grounding. It’s this balance that makes Marjorie both a comedic force and a believable thorn in the side of an already strained household.

Joseph Clowser and Helen Phillips are well cast as Neil and Pam, the outsiders who slowly become entwined in the family's dysfunction. What begins as a simple visit to buy a car turns into a subtle exploration of a relationship quietly falling apart. While there were occasional audibility problems, both actors delivered thoughtful performances. The emotional distance between Neil and Pam is noticeable from the start. At first, this lack of chemistry seems unsatisfactory, but it’s later revealed as a deliberate and well-judged choice. Their eventual break-up lands all the more effectively thanks to this considered and restrained approach.

Tom Richardson as Dennis, Holly Smith as Vera © Will Green Photography

The production remains faithful to Alan Ayckbourn’s original 1976 setting, evident through the set, costume, and promotional material, but it did leave me wondering whether a contemporary update might have brought the themes even closer to home. The issues at the heart of Just Between Ourselves, emotional neglect, control masked as care, and the prevalence of mental health issues, are still unfortunately present today. While the retro setting is charming, it risks placing the story at a safe historical distance, rather than making the audience confront how recognisable these dynamics still are in modern households. Similarly, the performances clearly conveyed the play’s themes, but the characters’ considerable likability occasionally softened the impact. As a result, the more patronising and controlling behaviours didn’t always play as loudly as they could have.

That said, this is undeniably a powerful piece of theatre. It explores the subtle brutality of everyday relationships and the damage that well-intentioned control can inflict, particularly when masked as love. London Classic Theatre delivers a compelling, intelligent production that balances discomfort with charm. Ayckbourn’s script may be nearly 50 years old, but this staging proves its relevance hasn’t dimmed. It’s a nuanced, well-crafted show that deserves to be seen, both for its quiet emotional impact and its skilful storytelling.

The production continues its UK tour until July 12, 2025. For more information and to book tickets, visit London Classic Theatre's official website.