A Voyage Round My Father
Sir John Mortimer

The Wyndham Theatre, London



Sir John Mortimer’s tour de force portrayal of his relationship with his father looks set to take the West End by storm.



Sir John’s play, first put on in 1970, is autobiographical, showing his early life and his relationship with his proud and often difficult father. The father is the epicentre both of the family unit and of his son’s affections, and Sir John is seen struggling to succeed in the shadow of his father, a brilliant barrister with a cantankerous and cutting wit.



As his aggressive courtroom persona and a passionate enthusiasm for Shakespeare and for the English garden become apparent, it is clear that Sir John has cut and pasted from his father in finding his inspiration for ‘Rumpole of the Bailey’. It is interesting to note that Rumpole’s own relationship with his son is softer and more sentimental than the relationship between Sir John and his father.



The point is made when his father loses his sight in an accident – he is up a ladder doing some gardening when he hits his head on a branch and is blinded (how terribly English). His father’s blindness is never mentioned by the family, merely referenced when he demands that his son and wife ‘paint me the picture’ of the world.



Sir Derek Jacobi is masterful in his portrayal of the crotchety, mischief-making barrister-cum-father. He is resolute to the end with his less-than-apologetic goodbye: ‘I’m always angry when I’m dying.’ Sir Derek uses his full range both to bewitch and transfix the audience, despite the less-than-loveable character he plays. He is ably supported by Dominic Rowan, who plays, or almost underplays, the desperate son seeking his father’s love, acceptance and recognition.



There are fine supporting performances from Joanna David as the almost over-supportive wife and mother, and from Natasha Little as the son’s wife who refuses to be either overwhelmed or intimidated by the father. It is Little’s performance as Elizabeth that allows the audience to vent their angst at the father through her, for his comments, selfishness and complete ignorance of his son’s needs. As such, her interaction allows the piece its sparkle and hold.



Thea Sharrock’s direction gives life and understanding to the play, and allows the actors to both believe in and enjoy their performances. This play not only enriches the soul, but reminds us that maybe our own families are normal after all.


Jason M Hadden is a freelance journalist and solicitor-advocate