Scott Le Crass’s direction helps maintain the audience’s empathy for the character throughout even when Harry loses any love for himself. The production reflects the growing sense of isolation. At the start, there is a voice over that conveys Harry’s inner voice, trying to reason with himself and encourage him to take action to combat his loneliness. In the course of the play, the voice over becomes less prominent to the point where it disappears completely. Harry’s flat is silent and he is alone.
While Harry’s Christmas features the familiar Berkovian themes of religion and a loathing of television, its overriding theme is the need for human connection. There are lines of dialogue that cut through. “Am I not interesting enough?” he asks himself trying to work out why he is alone for yet another year. It’s a question that many of the people watching will have asked themselves at times of self doubt.
While it’s billed as a dark comedy, that does not quite touch the absolute bleakness of the piece. At 70 minutes, although brilliantly performed, is perhaps a tad too long for such darkness given the inexorable nature and desolation of the ending.
Before we recommend this play, we should insert an important caveat: if you are feeling emotionally vulnerable, please look at the show’s trigger warnings first. This production is in aid of CALM (the Campaign Against Living Miserably) and their website offers excellent support if you are feeling lonely.
As a railing against the hypocrisy and selfishness of the modern commercial Christmas, it remains as pertinent now as it did when the play was first performed in 1985. It’s a powerful conscience-pricking reminder that not everyone will enjoy a jolly festive season.