In a world short of laughter, and as the theatre’s fitting follow-up to youthful experience in Bruce Mason’s The End of the Golden Weather, Sir Roger Hall’s latest exploration of middle class living in Aotearoa in the ‘golden years’ of retirement could be seen as an inspired choice.

It is framed as a monologue from retired farmer Dickie Hart, remembered by many for his passionate rugby worship in C’mon Black (1996) and brushes with real estate in You Gotta be Joking (2006). This time it’s all about life in a fifth floor suburban city apartment, with a Body Corporate setting its community tone and contractors manicuring the life out of its gardens. Little room here for Dickie’s ebullient trademark enthusiasms that brought on enjoyable mayhem in the earlier plays.

Instead, we are faced with the grumpy reality of ageing and the fraught business of city life for one accustomed to life on the land, with ‘real’ dogs. Convenience in the form offered (sea view from one window, street view from the other), which has appeal for Dickie’s wife Glenda, is no compensation, so that his jaded view of things colours much of the play, providing many a chuckle for the audience as we recognise fellow feelings. His irascibility over minor frustrations as well as recurring jabs at diet (Vegan), universities, rugby competitors and traffic are just what we expect of him.

At the same time, the director’s intention to respect the “deep, aching sadness” ageing and alienation can bring and “what happens when your life disintegrates”, is clear. It takes depth of talent and experience to ride comfortably with the laughs while allowing deeper feelings their expression. Ross Gumbley is securely at one with his material and has his audience thoroughly engaged.

A triumph of the play, then, is that a ‘one note’ cascade of laughs is not the way we will remember it. Dickie’s tentative friendship with an urbane Fergus Dexter, chair of the residents’ committee, the gradual threat of vulnerability and depression as he is inevitably left alone, and the bewildering indignity of subsequent essential tests all reach beyond the chuckles to something more substantial.

In production terms, the piece is well served. Designer Harold Moot provides a bright, naturalistic kitchen to enable a detailed physical performance, all the more important for solo work. Sound design from Andrew Todd neatly completes the illusion of Dickie’s world.

We are left with that world in an upbeat moment. As in the Mason play, summer and all that implies is at an end, but life itself in all its diversity can still be enjoyed.

Applause for the performance and for Sir Roger, who appeared at the curtain call, confirmed that the opening night audience agreed wholeheartedly.

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