In The Homecoming there are five men in the family. Mum is dead. Their home is a vast open-plan North London living-room, working class tat in epic concrete: a magnificent structure by John Bury, furnished with a Welsh dresser painted Berlin-black and a smoky-cut armchair. The whole thing is in monotone blacks and greys, the colours of mashed newspapers and cigarette ash and old socks. Uncle Sam (John Normington), who holds the reins of the kitchen, is a diluted man who works as a chauffeur and has some dim sense of importance about taking his bosses to London airport. Dad is a retired butcher, played by Paul Rogers with a perfect grasp of the fact that half of the grating comic power of the dialogue comes from speaking a line against its surface meaning, roaring hatred when demanding a hug or vilifying his puny life when his words are apparently boasting about it.