tilt of the head, she ploughs on regardless in her commitment to the 1950s lifestyle. Later, when her world starts to fall apart and that façade begins to crumble, we see her vulnerability. It was a poignant moment when she took herself off into the kitchen alone, to “re-set” her smile before returning to the lounge with her cheerful veneer back in place. We later learn this fantasy is a form of security. After a childhood of instability, her role of stay-athome wife and Jive Stock holiday weekends with the same friends, make her feel safe. She is clinging on to her fantasy as a child would grip a comfort blanket. Dominic Lo as husband, Johnny, moved briskly around the stage and they made an endearing couple. This was a sensitive portrayal by Dominic; while being loving and kind, we could detect his discomfort and unease as he felt the pressure of being the sole breadwinner. His frustration with Judy in the second act could easily have been over-played but Dominic captured just the right balance. He was convincing, compelling, and compassionate. We wanted him to get his arguments over to her so she would understand his point of view. He wanted them both to be happy, and we did too. There is, for me, a pivotal scene hinting at the changing dynamic of the couple when Johnny’s female boss, Alex (smartly played as young modern career woman by Gabbie Boswell), is invited over for drinks in a ruse to smooth the promotion path. Judy is nervous, anxious to please and over-fusses. Johnny is embarrassed but wants to stay loyal to her and Alex is so uncomfortable that she can’t leave quickly enough. The couple’s friends, Fran (a sweetly supportive characterisation by Fiona Shirley) and Marcus (Bruce Taylor) provide a foil to their relationship. Their interest in the 1950s is entirely hobby based and although there is admiration for them from Fran (who even goes so far as to borrow a book on housekeeping
RkJQdWJsaXNoZXIy ODU3MzQ=