rediscovering R.C. Sherriff‘s “Home at Seven”: A Compelling Post-War Mystery
R.C. Sherriff, best known for his poignant World War I drama Journey’s End, crafted another intriguing work in 1953 with Home at Seven.This rediscovered play, now receiving a welcome revival, offers a fascinating glimpse into post-war anxieties and the burgeoning popularity of mid-century mystery. It’s a piece that skillfully blends psychological suspense with elements of both social commentary and classic whodunnit tropes.
A Disorienting Return Home
The story centers on David Preston (Ellis), an air raid warden grappling with a sense of displacement in peacetime.He returns home to Bromley one Tuesday evening, convinced it’s Monday. His wife,Mrs. Preston (Bridget Lambert), is understandably distraught, believing him to be missing for a full 24 hours.
This initial disorientation quickly spirals into something far more unsettling. A murder has been reported, and Preston finds himself a suspect under the scrutiny of inspector Hemingway (Greg Fitch). The play masterfully keeps you questioning reality alongside Preston, blurring the lines between memory, deception, and perhaps, something more extraordinary.
Echoes of Priestley and Christie
Home at Seven premiered during a fertile period for British theater. It arrived four years after J.B. Priestley’s An Inspector Calls and two years before Agatha Christie’s The Mousetrap cemented its place as the longest-running play in history. Sherriff’s work subtly nods to both playwrights.
One possible explanation for the events is a Priestley-esque time-slip, adding a layer of metaphysical intrigue.
Concurrently, the unfolding investigation and the presence of a detective strongly suggest a traditional whodunnit.
This intentional ambiguity is a key strength of the play, forcing you to actively participate in unraveling the truth.
The Art of Suspense and Shifting Realities
Playing a character shrouded in mystery is a notable challenge for any actor. They must navigate the delicate balance between conveying uncertainty to the audience while simultaneously making definitive choices about what their character knows. Ellis delivers a truly superb performance, subtly revealing Preston’s confusion or deliberate obfuscation through nuanced facial expressions and physicality.
The production also embraces a charmingly unconventional structural choice. Just before the climax, the stage is momentarily ceded to Peggy (Maddie Crofts), a barmaid, whose testimony only deepens the mystery. This unexpected interlude, a hallmark of mid-20th century theatrical experimentation, adds a delightful layer of complexity.
A Reflection of its Time, Reimagined for Today
The original cast of characters reflects the societal norms of the 1950s – the investigating professionals are all white men of a similar age. However, Claire Evans’ direction skillfully reframes this dynamic.
She presents them as a cohesive “tribe,” allowing actors Andrew Williams, Greg Fitch, and Jeremy Todd to imbue their roles with individual depth and nuance.
This approach ensures the play resonates with contemporary audiences while remaining faithful to its ancient context.
This revival is a fitting tribute to both Sherriff’s legacy, marking the 50th anniversary of his death, and the enduring spirit of the Tabard Theatre, celebrating its 40th birthday.
Where to See It:
You can experience Home at Seven at the Tabard theatre,London until September 20th,followed by a tour. Don’t miss this prospect to discover a compelling and thought-provoking piece of theatrical history.