Tag Archives: Hayley Atwell

“Rosmersholm” at the Duke of York Theatre

Theatre folk love to make revivals of plays relevant to current times. Now and then, the connections made seem forced, but this new adaptation by Duncan Macmillan of Ibsen’s play from 1886 resonates with the present in a way that frequently astounds. Set around an election, with a country polarised and inequality increasing, nationalism and fake news are everywhere. Meanwhile, the play’s central figure of Rosmer recognises that his privilege comes with a “moral debt” – as they say on Twitter, he is ‘woke’. A conscience examined in the finest detail and a brilliant performance by Tom Burke contribute to a superb production that fizzes with topicality.

Rosmersholm is no dry political disquisition. Giles Terera’s stage presence – as the establishment figure of Andreas Kroll – makes sure that the debate is entertaining. Rosmer’s brother-in-law and old friend, Kroll views radicalism as a threat to not just the country but the soul. And there’s more – ghosts for a start – which director Ian Rickson allows to be symbolic as well as pretty creepy. The characters and the damaged house of Rosmer, with its gorgeous set from Rae Smith, are haunted in many ways, with gradual revelations about the family’s history that make this quite the thriller. It’s all balanced expertly by Rickson and, if the evening is overpowering at times, it’s always exciting.

Tom Burke and Giles Terera

Above all, Rosmersholm is a romance – a particularly intense and tragic one. Marking out Rosmer as a “fallen man” involved with an “independent woman” could remind us too forcefully that this is a period piece. But not a jot. While Burke brings out the complexities of his role as a former pastor who has lost his faith and whose family name becomes a political football, his love interest, Rebecca West, is made the star of the show. This is a tremendous vehicle for Hayley Atwell, who gives a performance full of fantastic detail. West even seems as if she might provide a happy ending. You don’t need to have seen too much Ibsen to be suspicious of that, but Atwell and Rickson make subsequent revelations edge-of-the-seat stuff.

This is a relationship based on talking politics (that’s how our couple fell in love). The chemistry is fantastic, but the ideals discussed are also exciting and challenging. West proves an extreme figure who allows no compromise and there’s an immaturity in both her and Rosmer – take your pick blaming stunted upbringings or a narrow society – that leads to catastrophe. Rosmersholm becomes a frightening place – the talk is of sickness and sacrifice, death or change. No middle ground is allowed. It’s surely just the position, with all its dangers, that we face right now.

Until 20 July 2019

www.rosmersholmplay.com

Photos by Johan Persson

“The Pride” at the Trafalgar Studios

Nearly six years after its premiere at the Royal Court’s upstairs theatre, Jamie Lloyd once more directs Alexi Kaye Campbell’s play, The Pride, this time at the Trafalgar Studios. A story of gay life, set in 1958 and 50 years later, it deserves to be seen again, and by more than those who could squeeze into the Royal Court’s smaller space. Examining changing attitudes and personal politics, the play insures a broad appeal – just – by virtue of its heartfelt emotions.

The Pride is occasionally verbose. Kaye Campbell doesn’t wear his learning lightly, but there is no doubt the writing is accomplished. Lloyd’s direction is the key to its success: he brings out the drama and speed in a script that could lag and his bold staging, with a mirror used to create a spooky confluence between the ages, injects theatricality.

L-R Mathew Horne & Al Weaver - The Pride - Trafalgar Studios - Photo Marc Brenner
Mathew Horne and Al Weaver

A time-travelling structure, flying between the 1950s and the present with exciting speed, allows the actors to shine. Harry Hadden-Jones and Al Weaver play the lovers Philip and Oliver, wracked with guilt and fear in the Fifties and just as confused with their contemporary freedoms. Three cameo roles performed commendably by Matthew Horne provide the majority of the play’s humour. But the star is Hayley Atwell as Sylvia, Philip’s wife in the past and Oliver’s friend in the present – the most interesting roles in the play performed with great skill.

The historical scenes pack the most punch, as there seems to be so much more at stake. The contemporary version of Oliver’s character, battling with fidelity and a sex addiction, seems trivial in comparison. But Kaye Campbell has a powerful idea – highlighting hard-won freedoms as a call to action among the gay community for continued political involvement. At a time when legislation in Russia focuses attention on gay rights globally, the play seems topical and important: the cast’s appearance at the curtain call with protest placards, dedicating their performance ‘To Russia with love’, deserves applause.

Until 9 November 2013

Photos by Marc Brenner

Written 21 August 2013 for The London Magazine