The Good Life directed by Daniel Ellis and Helen Horridge is a stage adaptation of the classic BBC sitcom that follows Tom and Barbara Good as they abandon conventional suburban life in Surbiton to pursue self-sufficiency in their garden, much to the bafflement and irritation of their socially aspirational neighbours, Margo and Jerry Leadbetter. A staple of British sitcom history, the original series is remembered for its sharply drawn and hugely memorable characterisations by Felicity Kendal, Richard Briers, Penelope Keith, and Paul Eddington.
Robert Crumpton took the lead as Tom Good and demonstrated a clear and assured understanding of the character. He and Helen Swain (Barbara Good) worked well together as a believable couple with natural on-stage chemistry. However, the Barbara characterisations occasionally felt a little on the harsh side and might have benefited from a touch more warmth in order to fully balance the character’s more tender and humorous moments.
Laura Aremia as Margo Leadbetter fully embraced the character’s famously snooty persona and clearly delighted in it. She delivered several standout comedic moments, including one of the funniest lines of the evening during the piglet storyline, when asked to fetch brandy from next door and, with perfect comic timing, checked whether Tom meant Rémy Martin or Cognac. This landed brilliantly with the audience and generated one of the strongest laughs of the night.
Adam Green, as Jerry Leadbetter, provided an effective foil to Margo, portraying the character’s familiar “soppy” and downtrodden nature early on, before showing a pleasing arc in Act 2 as Jerry begins to find his own confidence after being made “boss.”
Graham Simmonds was particularly strong in his multiple roles, demonstrating excellent versatility and comedic timing. His portrayal of Harry the Pigman was especially memorable, consistently drawing attention whenever he appeared and offering a showcase of sharply differentiated characterisations. His experience as a comic performer was evident throughout.
Beverley Stuart-Cole also impressed in a range of supporting roles, particularly Felicity; showing a versatile and adaptable repertoire. Her quick shifts between characters added energy and variety to the production.
One of the highlights of the evening was the final kitchen scene involving the rescued piglet, where the ensemble work came together particularly effectively. The interplay between characters captured much of what makes the original sitcom so enduringly popular. It evoked the familiar rhythm of classic 1970s television comedy, where the audience can sense the set-up of the jokes in advance yet still find themselves laughing when the punchlines arrive. That sense of affectionate predictability, combined with strong ensemble timing, gave the production some of its most enjoyable moments.
There were also strong technical and design elements that significantly enhanced the production. The director, who was also credited with the sound design, ensured a clear and well-balanced audio presentation throughout, supporting the action without ever overwhelming it. The lighting was warm and effective, helping to showcase a delightful and well-realised set. Costumes by Mike Shaw and team at the Garrick were splendid throughout, particularly Margo’s kaftan wardrobe, which was spectacular in its flair and period character.
The stage design was impressive, cleverly split to represent the adjoining homes of the Goods and the Leadbetters, while also incorporating a flexible cross-set area at the front for the various locations within the play. This design proved highly effective in maintaining pace and clarity of scene transitions while keeping the audience visually oriented throughout.
Finally, a special mention should go to Geraldine the goat, created and I think ‘handled’ by set designer Charlotte Leigh who very nearly stole the show every time she appeared. Her presence added an unexpected but highly amusing layer to the production and consistently drew audience attention.
The Good Life is being performed at Altrincham Garrick Playhouse until Saturday 6th June.
Reviewer: Kathryn Gorton
On: 1st June 2026
