Note: A belated review of the evening performance on Saturday 23rd September 2017.
I feel like I've been waiting for this revival for forever. Indeed for years, inspired mainly by the correspondence between the line that the Weissmann theatre is to be a car park (though in this version office block) and the Yes Minister joke about the National's building that the architect was given a knighthood so no one could say the building looked like a car park I've thought the National should do it. That it should be the often dismal Norris era that finally sees this revival was a pleasant surprise. Fortunately, it met all my high hopes.
From my seat on the side of the central Stalls block I found the show superbly made to fit the Olivier space. Vicki Mortimer's straightforward set works well. We see a central wall with an archway on one side of which the theatre's advertising lights are sometimes illuminated. To the left the stairway for the descent of the girls, to the right a muddled, dimly lit ruin of rubble and red theatre seats. Often, though, the central playing area is bare but this focuses attention on the drama – Cooke finds an intimacy that can elude in this space.