Dear Octopus Review: A Golden Revival at the National Theatre
Dodie Smith’s forgotten gem, “Dear Octopus,” resurfaces at the National Theatre’s Lyttelton stage, offering a poignant and humorous portrait of a family reunion on the eve of World War II. Written in 1938, just as Europe teetered on the brink of disaster, the play resonates even more powerfully today.
The year is 1938. Britain stands uneasy, the shadow of war looming large. Stepping into the grand but slightly faded country home, designed for the play by Frankie Bradshaw, feels like entering a time capsule. Four generations of the Randolph family are here to celebrate the golden wedding anniversary of Dora (the masterful Lindsay Duncan) and Charles (the ever-reliable Malcolm Sinclair). Grandchildren scamper through the halls, their youthful energy a stark contrast to the gathering storm clouds. But beneath the surface of merriment, tensions simmer. The weight of history hangs heavy. Empty portrait frames on the grand staircase are silent reminders of loved ones lost in the Great War.
The supporting cast is equally stellar. Bessie Carter delivers a beautifully nuanced performance as Fenny, the family confidante, yearning for a deeper connection with the charming but clueless Nicholas (played with youthful energy by Billy Howle). Bethan Cullinane portrays the estranged daughter, Cynthia, haunted by past wounds, while Kate Fahy brings a touch of flamboyant melancholy to the role of Aunt Belle, clinging to the vestiges of youth.
Humour is the lifeblood of the production. Smith’s wit finds its perfect foil in Duncan’s masterful delivery. Her portrayal of Dora is a tour-de-force, balancing warmth and sternness, vulnerability and strength. The play’s brilliance lies in its ability to weave together humour and heartbreak. We laugh at the witty exchanges and the antics of the younger generation, particularly the scene-stealing mischief of young Bill (Felix Tandon). Yet, the spectre of war hangs heavy in the air, casting a shadow over the family’s celebration. News reports of gas masks and air raids serve as a stark reminder of the fragile peace and the impending chaos.
Director Emily Burns masterfully navigates these contrasting tones. The revolving set design, alternating between the dining room and a nursery teeming with children, perfectly captures the play’s thematic core: the constant push and pull between past and present, childhood memories and the uncertainties of the future.
“Dear Octopus” may be a period piece, but the emotional core resonates with audiences today. It’s a reminder that family, with all its imperfections, is a precious thing. As Dora says in a poignant moment, “It’s better to lose a principle than a daughter.” This sentiment encapsulates the play’s core message—the enduring strength of love and the resilience of the human spirit, even in the face of darkness.
Catch “Dear Octopus” at the National Theatre until March 27th
Tickets & Info: https://www.nationaltheatre.org.uk/productions/dear-octopus/
Elena Leo is the Arts & Lifestyle Editor of Ikon London Magazine.
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