Alan
Bennett, most acute of all observers of the British class
system, wades confidently into ever deeper water in his
latest play Enjoy
at the Vaudeville, and steps out, to a certain extent,
dripping of two writers who have trodden the murkier ways
of human nature before him, Joe Orton and Samuel Beckett.
It is just as well not to stretch the Beckett analogy
too far, though there are one or two occasions towards the
end of the play when the stage pictures produced by
director Ronald Eyre strikingly recall Beckett images. The
Orton connection is rather stronger, when what one might
call the private parts of human activity are laughingly
exposed with a bitter expression of futility.
But these come in the second act of the play, the first
half being more in the familiar Bennett vein, as he shows
the older generation attempting to come to terms with
modern life and its manipulative aspects. Wilfred and
Connie Craven, he semi-paralysed through an encounter with
a hit-and-run driver, she rapidly losing her memory, live
in the last back-to-back in Leeds, surrounded by urban
redevelopment and ready to be rehoused in a council
maisonette. Before they move, however, someone
in authority has thought it would be a good idea if they
and their few surviving neighbours were to be observed by
a team of silent social workers with a view to ensuring
that the best of their traditional way of life should go
with them. Much of the play is concerned with the Cravens’
desire to live up to the expectations of the social
workers one of whom is their own transvestite son. The
rest shows them deluding themselves in a variety of ways,
one being that their daughter is not a tart but a
jet-setting private secretary.
Subtly, and aided by two outstanding performances from
Joan Plowright and Colin Blakely, Alan Bennett drags us
from a cosily eccentric world into the bleakest of
prospects in which personal responsibility is replaced by
state “caring”. Though many might be disconcerted by the
fact that an evening that begins with chuckles ends
disturbingly, Enjoy
is an important play with real social relevance. And
if its stars carry the burden, there are some sharply
illuminating supporting performances by Philip Sayer and
Susan Littler as the younger Cravens, Liz Smith as a
neighbour who is never at a loss and Marc Sinden as the
cheerfully chilling director of a project which treats
people as units.