“Home, I’m Darling”, the next in Lace Market Theatre’s 2025-26 season, revisits the nostalgia of the 1950s, forcing us to question whether the past is as heart-warming as the films of the time would have us believe, or whether our rose-tinted spectacles are hiding darker truths. The play, written by Laura Wade, won the Olivier award for Best New Comedy in 2019, and with Lace Market’s production it is easy to see why – there are laughs-a-plenty, but Payash Raslan’s directorial debut also strays into grittier territory, with sinister tones hiding under the surface.
The play begins with married couple Judy (Sally Eaton) and Johnny (Jamie Goodliffe) sitting down to breakfast in a vintage 1950s kitchen – pastel colours and curved surfaces bring to life a very retro-looking set. A laughter soundtrack and jaunty intro music gives the entire scene a sitcom-esque feel, and yet there is something that feels off – Goodliffe’s delivery is slightly robotic, Eaton’s quirkiness a little forced. Even Steph Nichols’ set leans into the idea that the entire thing is staged – the back wall is painted at odd angles, as though mirroring the stage lights themselves. The surreal nature of this opening scene evokes Disney Plus hit Wandavision – and when Judy pulls out a laptop, we know that all is not as it seems.
Judy and Johnny are very much your 21st Century couple, but they have chosen to live their life as though they were in the 50s, spurred on by their keen interest in classic cars. This questionable lifestyle causes unease among the couple’s social circles, in particular Judy’s friend Fran (Emma Smart) who questions how the couple can get by without newer technological advances, and Judy’s mother Sylvia (Cynthia Marsh), who raises concerns around Judy’s role as a housewife, given that her daughter has a degree in finance. All of this makes for an interesting set-up, and the fractures in Judy and Johnny’s relationship grow ever wider as the first act continues. Eaton and Goodliffe both present characters who have misgivings about their current situation, but who both seem powerless to do anything about it. When Goodliffe finally drops his well-mannered husband act, it is almost greeted with a sigh of relief from the audience – there has been so much tension bubbling under the surface that it is too much to bear. What follows is a dramatic showdown that leads us into a fraught cliff hanger that had members of the audience bemoaning the 20 minute interval before we got our resolution.
There is plenty of comedy between the more nuanced character beats, mostly delivered thanks to the couple’s interaction with various outsiders, including Ali Lit’s Alex, Johnny’s new boss who is invited round for some very awkward cocktails. But it is Smart’s Fran and her husband Marcus (Christopher Mercer) who bring the biggest laughs of the opening act, as they continuously put their foot in it and unwittingly cause ever more anguish for the 50s obsessed Judy. Both Smart and Mercer bring an energy that perfectly balances with Eaton and Goodliffe’s more reserved portrayals, creating a fascinating set-up that perfectly allows the comedy to spiral. It is testament to Mercer’s ability that he is able to take this likeable character and turn him into something increasingly darker in the second act, although to say any more would be to give too many spoilers.
The second act treats us to a flashback that gives us more context for Judy and Johnny’s lifestyle choices, and both Eaton and Goodliffe realise these past versions of their characters incredibly well, allowing the audience to easily connect the dots between past and present, before we are flung back into the aftermath of the tense act one cliff hanger. One of the highlights of the show comes halfway into the second act, as Marsh’s Sylvia takes centre stage to deliver a hell of a monologue about what life was really like in the 50s, a speech that calls into question the role of women and the power of the patriarchy. It is a moving, impassioned speech that is delivered with expert rhythm and pace – a long, wordy monologue that could have fallen flat in less capable hands.
Towards the end of the play, Laura Wade’s script loses its way a little, and the final scene takes a particularly circuitous route to reach any sort of point, although Eaton and Goodliffe continue to give a stellar performance even as the text becomes a little dense. Gareth Morris’s sound design treats us to jingles from classic 50s adverts which helps to bridge each scene, although one could only wish that the sound was a little louder throughout.
Those minor quibbles aside, this is yet another hit for the Lace Market Theatre, whose latest season of am-dram is off to a strong start. This is a fun, enjoyable night of theatre, that raises some interesting questions and will certainly give audience members something to chew over on the way home. A fantastic piece of amateur theatre that all involved should feel very proud of.
Tom Morley, October 2025
Review Round-up:
East Midlands Theatre: Home, I’m Darling – A hugely positive 4* review from EMT, who say this “uniquely memorable evening” is “yet another great offering by this amateur group”
Kev Castle Theatre Reviews: Home, I’m Darling – A similarly positive response from Kev Castle, who says that this little-known play is “worth the money; not just because of the quality of the cast and production crew, but also because of the brilliant writing by Laura Wade”
Broken Legs Blog 