Just Between Ourselves: Background

By 1975, Alan Ayckbourn had been the Artistic Director of the Library Theatre, Scarborough, for three years and although - artistically and financially - the theatre was proving a success, it was still a period of uncertainty for the company. In 1974, North Yorkshire County Libraries Committee had declined a request for a 40 week season at the Scarborough Library. Although later rescinded, the decision was accompanied by a statement from the committee that 1975 would be the company's final full year at the library. It was made it clear in no uncertain terms the company had no future at the venue whilst, meanwhile, the search for a new home for the company was proving frustrating and fruitless. Twenty years after the company had made its home in the town, its future was more uncertain then ever. In this environment, Alan was still attempting to move the company forward despite being patently aware of the limitations it faced in a venue where it was not wanted and in any case had long since outgrown.

Over the years, Alan has frequently commented that what stands as one of his darkest ever plays was written against the background of a harsh winter on the east coast with the North Sea winds howling around the upper floors of the house where he lives in Scarborough. Certainly, the bleak Yorkshire winter appears to have influenced his writing and seeped through into the spirit of the play.
Just Between Ourselves was written between Christmas and the New Year and apparently delivered to the actors at 4am on New Year’s Day 1976. This would be the first of three plays which Alan would term his ‘winter plays’ and it would mark a profound departure in tone for the playwright.

Prior to
Just Between Ourselves, he had generally written his plays during spring for a summer production; however, it wasn’t just the change of writing pattern that would affect the play’s content. Ever since Stephen Joseph had commissioned Alan’s first play, The Square Cat, in 1959, Alan had been aware that he was writing for a summer audience that would in large part consist of tourists visiting Scarborough. Although he would not shy away from darker elements in his plays, he felt his job was to provide something which would entertain people and make them want to visit the theatre during their summer holidays (even when writing The Norman Conquests trilogy, he was aware his primary audience would probably not get the opportunity to see all three plays and thus they are entirely self-contained). Just Between Ourselves offered a new opportunity. He was not writing for the tourist season, but a winter season which would primarily attract local people and, presumably, people who were supportive of the theatre and Alan's work. It was an opportunity to take a risk and produce something with darker elements than anything he had written previously.

Initial concept notes (see
Behind The Scenes) suggest Alan was intending to write something even bleaker than the final play - which is still undoubtedly extremely bleak. What begins as a recognisable suburban-set Ayckbourn comedy soon transforms into a play in which two couple’s marriages deteriorate before our eyes and which climaxes with a character having suffered a breakdown as the result of her relationship with her husband and mother-in-law. There is humour in the play, albeit painful humour, but to his credit Alan Ayckbourn having set off down a dark path does not flinch from an ending which offers no hope and as many theatre critics noted, a final laugh which practically dies on the audience’s lips.

It was certainly a departure and even the playwright harboured uncertainties about the play; he would not even send a copy of the script to his agent until after the first read-through as he was prepared to apparently scrap the play and write another one had it not gone well. When she did eventually receive it, his agent - Margaret ' Peggy' Ramsay - was very impressed and believed it to be one of his best plays.

The play was premiered in the Library Theatre on 28 January and in a departure for Alan Ayckbourn, it was staged three-sided rather than in the round. This was primarily due to the fact that the larger Concert Room was unavailable during the theatre's winter season and the company had to perform in the smaller Lecture Room which was not large enough for in-the-round productions and barely had enough space to cope with a set which featured a Morris Minor on stage! That the company had even managed to get the shell of a car up to the first floor of the Library practically defies belief and Alan thinks it may well have been the final straw for the Chief Librarian to come into work and find a car outside his office. When the play was revived for the summer season at the Library Theatre in 1976 in the library’s larger Concert Room, it stayed three-sided as Alan did not want to re-direct and re-stage the play.

The play featured Christopher Godwin as Dennis, again originating a classic Ayckbourn character, with Malcolm Hebden playing Neil. This was the first Ayckbourn play to feature the actor and would start a long relationship which eventually saw Malcolm become the theatre’s associate director. He would also play the same role 20 years on in Scarborough, noting he was too young to play the part originally and too old to play it for the revival!

Just Between Ourselves had just six performances in the winter season before going on tour with Stephen Mallatratt’s play An Englishman’s Home. It proved to be a great success at the Library Theatre and provided a strong finish to the winter season. The critics were generally impressed - considering it was a departure for the playwright - and the play received a strong set of reviews.

Following a short tour - including a residency by the company at the Georgian Theatre Royal - the play returned to the Library Theatre in the summer as part of the repertory season. Its final performance on 11 September also marked the final performance at the Library Theatre. The company having found an apparently temporary new home at a former boys’ high school in the interim; the temporary home would actually become a permanent home for the next 20 years!

Inevitably the play was picked up for the West End by the producer Michael Codron, although it was not the success hoped for nor anticipated. There is a strong case here that while Alan was developing as a playwright, his London audience was not moving with him and had pigeon-holed him strictly as a comedy writer / farceur rather the tragicomic writer he had been ever since writing
Time & Time Again in 1971. The West End transfer also almost opened simultaneously with Bedroom Farce at the National; a play for which the National Theatre received heavy criticism for it being too commercial and Alan too commercial a playwright. It was later pointed out that, ironically, the National received the commercial play (which would go on to phenomenal success) whilst the West End got the uncommercial and difficult play.

In hindsight, the reasons for the play’s lack of success were most likely down to the production itself and its reception, rather the piece itself. On paper, the talent assembled was noteworthy with Alan Strachan as director, having already directed
Confusions in the West End in 1975 and who is now considered a pre-eminent director of Alan's plays. It starred Colin Blakely as Dennis and Michael Gambon as Neil; however Gambon has since noted he believes they were miscast and Blakely - both a fine actor and very capable Ayckbourn player as he demonstrated in the West End transfer of A Chorus Of Disapproval - was not the ideal choice for Dennis. By the same token it is widely accepted the women in the play (Stephanie Turner, Rosemary Leach and Constance Chapman) were all excellent. Reviews were extremely mixed ranging from descriptions of it as a masterpiece to a complete failure. Amongst the positive reviews, there was an acknowledgment that Alan was maturing as a playwright and courageous in tackling a theme of such darkness. Here for the first time the critics began to draw serious comparison with the work of Chekhov - long one of Alan’s inspirations. For another section of the critics, the play was a step too far. Possibly blinkered by expectations of what they thought Alan should write, there were several damning reviews; a number of critics poured scorn on him for it not being the advertised comedy when the play had never actually been advertised as a comedy - presumably this was entirely due to their own preconceptions of the playwright. As Alan’s biographer Paul Allen has noted, several critics also brought Alan to task for making fun of mental illness; which, of course, showed a fundamental misunderstanding of the play as Vera’s plight is never dealt with anything but seriousness and compassion.

Alan also feels this is the play where the critics began to realise that the Scarborough productions tended to be superior to the London ones. The need to cast star names in the West End was beginning to tell on the plays. The ensemble works created in the intimate in-the-round Scarborough venue were not being well-served by their transition to large proscenium arch theatres with star names on the hoardings; the rigid dependency of the West End on fame, for right or wrong, was having a negative impact on Alan's plays.

The play opened in the West End on 20 April 1977 and closed on 3 September 1977; in contrast the National’s production of
Bedroom Farce opened on 16 March 1977 and ran through to 29 September 1979 including simultaneous West End and Broadway transfers. Ever since Absent Friends, Alan’s plays had not been the guaranteed West End successes they had once been, as the plays became more sophisticated and darker, so the London audiences seemed to struggle more with them. The reputation which plays such as Just Between Ourselves and Absent Friends now enjoy, was built more from the reception of the regional and repertory theatres rather than the West End. Despite this, the play did win the Evening Standard Award for Best Play.

To be fair to the London production, Alan himself knew it would be a hard sell as it was a play that he deliberately felt pushed him in new directions and that might not necessarily sit well with some sections of his established audience. That it came away from London with the Best Play award and a largely sympathetic press, was something of a relief for the playwright: “With that play I knew I was taking a gamble. But the critics saw what I was doing and let me develop. I expected them to be more fierce.” At the time, Alan’s agent was concerned about the future of the play, given its short run in London and mixed notices and wondered whether the regional theatres would pick the play up. It’s genuinely hard to know whether these concerns were warranted given the wide exposure it was about to receive and which ensured it would be very much in demand in the aftermath of it closing in London.

A year after it closed in London, the play reached a far wider audience than it would ever have done in the theatre when it was screened on television. The adaptation of
Just Between Ourselves stands as one of the better Ayckbourn television adaptations and had a large audience, although the bleak ending was marred somewhat in Alan’s opinion by the continuity announcer cheerily flagging up the next programme over Vera’s dismal face. The adaptation featured Richard Briers as Dennis with Rosemary Leach reprising her West End role of Vera (for more details of the television adaptation, see this page). The play would also be adapted twice for BBC radio by the director Gordon House in 1984 and 2008 and also released as an audio play in America by LA Theatre Works with the acclaimed actor Alfred Molina playing the role of Dennis.

Just Between Ourselves was quickly published with Samuel French picking up the acting edition in 1978 and the play was included in the mass market hardback, Joking Apart And Other Plays, which was published by Chatto & Windus in 1977. Penguin would reprint this in a softcover edition in 1982 which proved to be a very popular volume, reprinted numerous times. In 1986, the play was picked as one of the fourteen plays to be featured in the two volume Landmarks Of British Drama series, published by Methuen. Just Between Ourselves was collected alongside plays by Tom Stoppard, Peter Nichols, Simon Gray, Peter Shaffer, Caryl Churchill and Howard Brenton for the second volume which concentrated on the playwrights who came to prominence during the 1970s.

Twenty years after the play received its world premiere, Alan made the decision to revive it. Mirroring the events of two decades previously, the Scarborough company had outgrown what was originally intended as a temporary home at the
Stephen Joseph Theatre In The Round. In 1996, the company would move into its first permanent home in a state of the art conversion of the town’s former Odeon cinema. To mark the end of the company's tenure at its second home, Alan scheduled Just Between Ourselves to be the play which closed the Stephen Joseph Theatre In The Round as it had closed the Library Theatre. Due to his commitments with opening the new building, Alan decided not to direct the play and passed the reins over to Robin Herford. He had been the joint Artistic Director at the venue during the ‘80s while Alan was on sabbatical at the National Theatre, as well as a popular actor with the Scarborough company originating many major Ayckbourn roles during the 1980s. The play saw the theatre’s associate director, Malcolm Hebden reprise the role he created of Neil, marking his final performance with the company. The play was an enormous success and confirmed Herford’s talents as a gifted director of Alan's plays. The play also served as an interesting contrast with the light-hearted production of the Alan Ayckbourn and Andrew Lloyd Webber musical By Jeeves which opened the new venue, the Stephen Joseph Theatre.

In 2009, the play was revived in a very successful production by the Royal & Derngate Theatre, Northampton, as part of its
Ayckbourn At 70 celebration. The play representing early Ayckbourn alongside revivals of Man Of The Moment (1988) and Private Fears In Public Places (2004). The decision to stage it in the major celebration of the 50th anniversary of Alan Ayckbourn’s first play, The Square Cat, re-affirming its position as one of the most notable and significant Ayckbourn plays of the 1970s.

Copyright: Simon Murgatroyd. Please do not reproduce without permission of the copyright holder.