8.5/10
21
3 user 1 critic

Relatively Speaking (1990)

It's the sixties. Gregory loves Ginny, and Ginny loves Gregory. But unfortunately Ginny also loves Philip, or at least she used to, and Philip loves her. Does Philip love his wife too? ... See full summary »

Director:

Michael A. Simpson

Writer:

Alan Ayckbourn
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Cast

Complete credited cast:
Michael Maloney ... Gregory Pointer
Imogen Stubbs ... Ginny Whittaker
Nigel Hawthorne ... Philip Carter
Gwen Watford ... Sheila Carter
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Storyline

It's the sixties. Gregory loves Ginny, and Ginny loves Gregory. But unfortunately Ginny also loves Philip, or at least she used to, and Philip loves her. Does Philip love his wife too? Ginny tells Gregory she's going to see her parents, when she's actually going to see Philip to break things off. Gregory, thinking to surprise her, gets there first, and the chaos begins. The first scene takes place in Ginny's flat upstairs at 41 Redbury Square, London. The remaining scenes take place on the backyard patio of the Carter house at The Willows, Lower Pendham, Box. Written by Christopher Kribs <kribs@math.wisc.edu>

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Plot Keywords:

farce | 1960s | independent film | See All (3) »

Genres:

Comedy

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Details

Country:

UK

Language:

English

Release Date:

1990 (UK) See more »

Filming Locations:

London, England, UK

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Stereo

Color:

Color

Aspect Ratio:

1.33 : 1
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Did You Know?

Connections

Version of Halbe Wahrheiten (1985) See more »

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User Reviews

 
farce masterpiece
28 April 2008 | by mainefredSee all my reviews

Another wonderful play, televised in 1989 and now lost, with no VHS tape or DVD available. Mistaken identity lies at the core of the farce, as the boyfriend travels out of London to meet his girlfriend's parents for the first time. Only they aren't her parents, for he picked up the wrong address and landed at the home of his girlfriend's old flame. The trio - young man, old flame, and the old flame's dotty wife - talk at cross-purposes, extending the mistaken identities to the point of hilarity. This is Ayckbourn at his best, helped greatly by a top-drawer cast, headed by Nigel Hawthorne. It was broadcast on PBS as a Great Performances special and then, tragically, disappeared forever, along with a number of other fine British plays. Someone at PBS should smarten up; instead of mindless "pledge breaks," the network could coin money by selling DVDs of these treasures.


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