So it is to Price and Clothier’s credit that they imbue such dynamism into Jan and Adam – Clothier’s firm pecs announcing a rampant sexuality that he makes no excuses for and Price is just extraordinary as a capricious sort whose switches feel filled with genuine danger as she ricochets from emotion to emotion and one is left wondering what possible future could there be for them. But as they explore the different kinds of love (though not quite all fifty…) and increasingly bring their son back into the picture of their fractured relationship, we begin to see how compromise is just as important a part of their relationship, any relationship, as anything else. Not that this doesn’t come at a price, not at all – if you’re sitting on the left hand side as you face the stage, check out Price’s expression in the final moments – and suddenly your heart breaks as Weller finally finds a note of emotional realism that rings so horribly and affectingly true.
Perchance not the strongest piece of writing, but undoubtedly one of the most compellingly acted productions in London at the moment. Beware for flying crockery though. And spot the late appearance of the theatrical meme of the year – eggs are just everywhere!