I saw the first production of Alan Ayckbourn’s Henceforward at the Stephen Joseph in 1987 when I was in my twenties. A lot has happened to both me and the theatre since then. The revival at the SJT this year is quite a brave thing to do in some ways. The play was very successful both in Scarborough and in London where it won the Evening Standard award for best comedy when it transferred to the West End with Ian McKellen and Jane Asher. It would have been easy to leave it safely in the past, resting on its laurels, but I’m glad they didn’t. It made a big impression on me at the time. It was the first time that Ayckbourn had introduced science fiction into one of his plays- I loved NAN300F- Barry McCarthy was great as the lead character, Jerome, along with Serena Evans as Zoe and I still have a strong flashbulb memory of the ending in the original production. That doesn’t always happen. I saw plays thirty years ago that I can barely remember now. Every now and again if they have revived an Ayckbourn that I didn’t like nearly as much I have grumbled that they should give Henceforward another production- this made seeing it again a bit like high noon- how is it after all those years? Was my young self right? Was I going to be disappointed?
It remains a very clever idea- more successful still, for me, than some of the later futuristic Ayckbourn plays. It is set in a dystopian future where the streets are under mob rule and even opening the front door is dangerous. A composer, Jerome, is trying desperately to find his creative energy again and write, holed up in a tower block with only a faulty robot nanny for company. Throughout the play the world outside remains very real- a clear and present danger brought to us by videophone and entry security screens. Jerome has asked a young actress up for an interview, hoping that she will play his wife, allowing him to provide a semblance of normality and persuade his real estranged wife to allow him to regain contact with his daughter Geain. He is also desperate to find fuel for his creativity, given his isolation, and he does this by recording sounds- everything in fact- that he hears in the flat to sample in his work. There is both comedy and some heartfelt emotional writing and it is the second aspect that I think has stood the test of time best as the plot plays out.
Bill Champion is very good as Jerome. He is a very intense, truthful actor and you certainly believe in his Jerome as a difficult, gifted man. I liked Laura Matthews as Zoe too. That character needs to bring some lightness and airiness into the room with her to counter everything else that is going on and I particularly liked her first scene where she is clearly both falling apart after being attacked and also desperate to hold onto some normality and do the interview that she has come to do. I loved Jacqueline King as NAN300F but in spite of some very convincing acting as Corinna I didn’t think that the production had really got that character right this time. You need to feel that she and Jerome are meant to be together- that there is still something there, a warmth underneath Corinna’s outer skin of bitterness and frustration, and I didn’t quite.
It was fascinating to see the play again in my middle age. The heart of it has certainly stood the test of time- maybe the character of Mervyn has dated a little but not much else has. Henceforward certainly deserves to stay on stage alongside some of Ackbourn’s better known comedies and I am glad that my wish to see it again has finally been granted.