‘Invincible’ highlights the chasm between working-class and middle-class cultures

I’ve just seen ‘Invincible’ by Torben Betts, which I missed in London but which is now touring, at the Arts Theatre, Cambridge.

Act One was largely what I expected; a pacy, well-observed comedy of manners. Trendy lefty middle-class couple move from London to the North and invite their new, working-class neighbours round, in a street where every other house is flying a St George’s Cross flag. Predictable misunderstandings ensue, as class and culture collide.

What I did not expect was the descent into darkness in Act Two. No spoilers; but let’s just say, if you believe our armed forces are being misused by politicians in the service of global capitalism rather than defending our country, it’s a bad idea to throw that opinion aggressively into the face of a couple whose soldier son is currently putting his life on the line in Afghanistan.

We were treated to disconcertingly believable performances by all four actors: Elizabeth Boag, Emily Bowker, Graeme Brookes and Alastair Whatley. The characters are realistically ambiguous in their strengths and weaknesses, but it’s postman Alan, presented initially as a thick, boring, football fanatic, who ultimately shows far more emotional intelligence than the too-clever-by-half interlopers.

If I have a criticism, it is that the middle-class couple, Emily and Oliver, get little relief from their depiction as sanctimonious spoilt brats, whilst their proletarian counterparts, Alan and Dawn, are fairly uniformly salt-of-the-earth good eggs; but then I would say that, wouldn’t I?

Although the play begins firmly in Ayckbourn territory, it develops into something much deeper, with important things to say about the yawning abyss between the misnamed ‘metropolitan liberal elite’ and the people in the provinces slogging their guts out under austerity. Neither side is wholly right or wrong. Each needs to listen to the other.

This may have been the last play of its genre to have been written and performed pre-referendum. With that new, gaping crack of hostility called Brexit that now divides our country down the middle, its message is even more important.

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‘Invincible’ highlights the chasm between working-class and middle-class cultures

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