Review: Two of Us at HOME is ‘a fascinating exploration of the Lennon-McCartney relationship’

Written by Mark Stanfield, Richard Short, and Barry Sloane, Two of Us at HOME, Manchester is based on Stanfield’s film of the same name, depicting a fictionalised encounter between John Lennon and Paul McCartney set against the backdrop of Lennon’s penthouse in 1976 New York.

Six years after the Beatles’ bitter breakup, Lennon has now retired from the limelight to care for his son Sean, while McCartney was fresh off a number-one hit with his new band, Wings, and about to embark on a world tour. 

The play attempts to navigate the complex emotional terrain surrounding their final face-to-face meeting, focusing on the unspoken and unresolved conflict that plagued the two former childhood friends, offering Beatles’ fans a glimpse into what might have been said between them both.

Two of Us at HOME

As the world yearns for a Beatles reunion, Paul turns up at the Dakota, Lennon’s New York residence, unannounced to convince him to return to the limelight.

However, Lennon is seemingly more content being a father to Sean than being a pop star.

Despite their initial pleasantries, it doesn’t take long for old wounds to resurface, their conversation increasingly fuelled by old frustrations. Over the two-hour show, deep-seated jealousy, guilt and unresolved emotion bubbles to the surface. 

The dialogue in Two of Us ruminates on what could have been said, and what may have been felt. The play leans into the fact that no one truly knows what transpired between them during that meeting, leaving room for Stanfield, Short, and Sloane to speculate. 

The success of a two-hander like this hinges on the actors’ ability to embody the two most famous members of the Beatles.

As such, Jay Johnson and Barry Sloane are tasked with bringing  McCartney and Lennon to life.

Barry Sloane portrays Lennon with a striking mix of sarcasm, melancholy, and unpredictability. In the play, Lennon faces an existential crisis, unable to confront his past and unsure of his future. Able to quickly engage in clever wordplay and philosophical musings, Sloan is able to capture Lennon’s restless spirit with ease. 

In contrast, Jay Johnson’s McCartney is optimistic, good-natured and willing to bridge the gap between them – even if his reasons for dropping by aren’t entirely wholesome. The stark contrast between the disillusioned Lennon and the hopeful McCartney creates palpable tension as their differing personalities clash. 

Designer Amy Jane Cook smashes it

Designer Amy Jane Cook does a fantastic job at recreating Lennon’s famously minimalist apartment at the Dakota for the stage, complete with his iconic white Steinway grand piano, a homage to Yoko Ono’s influence on his aesthetic.

The sparse yet detailed set helps to root the play in the specific time and place, offering a peek into Lennon’s isolated and insular world. 

The costume choices effectively highlight the stark contrast between Lennon and McCartney’s lives. Lennon, still revered as a style legend even to this day, dons an eccentric bohemian look with his signature round glasses, reflecting his laid-back, hippie lifestyle.

In contrast, McCartney’s sleek double-breasted suit and roll neck emphasise his ongoing ties to the entertainment industry and polished public image.

Script

Despite a successful aesthetic and performances from our leads, the Two of Us major failure comes from the story itself, as it struggled to maintain momentum narratively.

The purposefully long pauses meant to represent the strained conversation between the former bandmates slow the pacing to an agonising halt a lot of the time. 

The stretches of silence feel like they’re meant to pad out the runtime rather than heighten the tension between the two men.

The witty banter, which is meant to bring levity to Lennon and McCartney’s tumultuous conversation, feels more like a barrage of puns that detract from the more serious themes of the story. 

A play that touches on trauma, nostalgia and the loss of friendship

It’s hard to discern what Stanfield is exactly trying to posit on the relationship between Lennon and McCartney.

But on the surface, at least, Two of Us is a play that touches on trauma, nostalgia and the quiet dissolution of a longtime friendship.

The writing meanders far too much, but the underlying themes of mental health and the toll fame takes on relationships and the self give the play emotional weight.

It may not be for the casual Beatles listener – or the average theatregoer, for that matter – but fans with a deep affection for Lennon and McCartney will find plenty to enjoy, as the roars of laughter from the rest of the audience indicated.

Two of Us doesn’t achieve the depth it set out to explore but provides enough emotional beats to remind us that sometimes, even the closest friends have to let it be.

Two of Us is showing at HOME, Manchester from 26 – 28 September.

Get your tickets here