It's a point thrown into sharp relief here by the problems of Ric Morgan's Tony, an East End-born Thatcherite whom the recession has stripped of his new wealth and turned into a computer sales rep. His daughter Elizabeth (Celia Robertson) is engaged to the son of the rich, upper-class chairman of the local constituency. The lavish wedding, planned as "a real morale- booster" to the jittery Tory community, would once have been well within Tony's means and he can't persuade himself that a man of his former standing won't be able to call in a few debts. But he's credit black-listed, a fact he hides from his aggrieved ex-spouse (Di Langford), while demanding emotional support from his thirtysomething girlfriend. For her, though, his fantasy of funding an obscenely expensive wedding reception rubs in all the more cruelly his evasiveness on the subject of marriage to her.
It's an uneven play, but the bits that work really work, as is established by Mark Ravenhill's engaging (if uneven) staging. It shows you a Britain where men like Tony and Oxbridge-educated Roger (Keith Hazemore) find themselves displaced in the same boat, flogging "software solutions" which they don't really understand for sales companies that are too keen on the quickest and easiest profit to go in for software solutions themselves. It proposes a Britain, too, where both young Conservatives and young Socialists, like Oscar Pearce's leather-trousered Joseph, can't really imagine a Labour government surviving beyond one term.
Though the plot depends on it, I never really believed that women would still be so drawn sexually to Ric Morgan's otherwise adroitly acted Tony. But that it is prepared to think on this scale - and let's hope the cast of 13 never outnumber the audience - is a tribute to the Steam Industry's commitment to new writing and augurs well for next year's planned "States of the Nation" season.
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