(seen at the afternoon performance on 30th August 2023)
THIS OPINION CONTAINS SPOILERS THROUGOUT.
Transforming the Almeida Theatre into the Almeida Hall is a masterstroke of scene setting. Once under the wedding arch, do take several foyer minutes to familiarise yourself with your “Oath of Allegiance” on the back wall, to view the happy couple’s photo and guest book, and most important read the notices regarding compliance with all entertainment licencing. Also consider signing up for service to do what is right for your country.
Inside, observe printed instructions on the use of the Almeida Hall (there’s one inside either side of the stage for that) and note this week’s events happening – they are on the pinboard by the door. Oh, and the buffet table underneath is for later...
If it sounds elaborate, it has to be. In writer Sam Holcroft and director Jeremy Herrin’s world unlicenced performances of unauthorised plays are forbidden. Thus we are at a wedding, cleared away only so long as the coast remains clear.
The secret play concerns former soldier turned mechanic Adem (Michael Ward), who is gifted with total recall of conversation. His ear for dialogue leads him to submit his debut play to the Ministry for approval.
A cross between Alecky Blythe and Sarah Kane, delving into the darkest recesses of human behaviour, the censors are so alarmed that it reaches Celik (Jonny Lee Miller), top-of-the-tree officer.
Adem expects punishment. Instead, Celik offers mentoring from himself and celebrated playwright Bax (Geoffrey Streatfield). With Celik’s nervous assistant, ex-soldier Mei (Tanya Reynolds) assisting, the scenario plays out unless lookouts warn otherwise.
Performances are strong. Celik’s Nazi leather gloves are the final touch for Jonny Lee Miller’s discombobulating manner (which Steve Pemberton at “The Pillowman” would have done well to emulate).
A theatre lover sufficient to risk stash forbidden Shakespeare under his floorboards; politically ambitious enough to suppress anything outside the party line, attend the right events and keep an eye on the boss’s chair. It's a compelling performance pulling all others into his Black Hole of power.
First to be drawn in is timid Mei. The antithesis of theatrical enthusiasm, having seen just one play (under duress, while serving as a gunner) we first see her in full bride mode, nervous yet elated about taking her vows.
Reynolds has the broadest character development, revealing with detailed nuance considerably more emotion as her position in life changes and she is exposed to artistic culture and questioning of political ideology she has never considered before.
Michael Ward as Adem mirrors her military bearing at times, but his strength lies in maintaining a position of truth even as he is told to distort it for the benefit of state propaganda. His concentration never faulters in this purpose, making his final scene even more interesting.
For Streatfeild as Bax a truly dire song for the happy couple is the high point of a performance semi-comic, semi-tragic. His louche manner contrasts well with the formality of the others and makes the most of a slightly under-written role, with a convincing pain at the way he has burned out in life and career.
To the side of the stage throughout, musician Miriam Wakeling keeps up a steady cello, adding much to the mood.
Sadly, the weakness of all this outstanding staging and performance work is in the play itself. Structurally sound, it does contain a final sequence which the monkey never saw coming.
The problem is that the play-within-a-play simply did not feel nearly seditious enough to justify the secrecy. It may be that criticising the military and satirising censorship is sufficient to be labelled “subversive requiring re-education,” but are the ideas presented truly dangerous enough to be categorised thus?
Sam Holcroft does once again deliver a slice of unexpected theatre worth seeing for the concept and cast. Yet the monkey left with a feeling that the whole does not quite justify the wonderful build-up... particularly as simply attending puts us at real risk of arrest...
3 stars.
Photo credit: Marc Brenner. Used by kind permission of the Almeida Theatre press office.