It is the late 1940s and the Nobel Prize winning author, Will Trenting (Ayden Callaghan), has just been announced to receive a Knighthood to the delight of his wife as Rona (Honeysuckle Weeks). It turns out that Sir William has been leading a double life, as his alter-ego ‘Bill’ arranges and attends orgies above a pub in Rotherhithe. As his second life starts to crossover into his real life the consequences of his scandalous personal life become increasingly serious.
The intent is clearly to create a deliberately paced play, to allow a sense of tension and a feeling of the walls closing in – but instead it feels slow and sluggish throughout. Each act brings a twist, but none feel delivered significantly, if anything they feel rather ho-hum. Many performances border on caricatures so if they bring a sudden revelation, it often feels like it is overblown. There are regular references to Jekyll and Hyde suggesting that Will shares this duality but nothing in Callaghan’s performance backs this up. Instead, he comes across as, almost one note – as a man in shock. The revelations also fall flat, once we know of the nature of the party in question, everything else just fits into place and it is hardly a surprise that the plot covers peeping toms and photographs and the father of an underage girl showing up at the door.
In a play where none of the characters come across as likeable, most of the broad performances don’t help although Jamie Hogarth as Albert does provide a bit of a shining light, a stronger performance, and the occasional hint of more depth to the character. He too has two faces, supportive to his employer in a very British classist way but from a rougher background with indiscretions in his past and comfortable with all around him no matter their social status.
In 2024, Emlyn Williams’ 1950 play feels both hideously dated and disturbingly relevant. Numerous public figures come to mind amidst recent sex scandals, whether alleged or proven. The depiction of the family and friends of the perpetrator gathering around to protect and support him, fully aware of his actions and seemingly unconcerned for the young girl, feels especially jarring. It seems as though we are meant to sympathise with this man, this predator. There is scant interrogation of the motives behind those who defend and stand by him, regardless of his actions, and who trivialise his abuse—let us call it what it is—of a 14-year-old girl.
There are lost opportunities here too, there is a moment where it is suggested that Bill might be having relationships with more than just the women at these parties, but this goes unfortunately unexplored. In fact, it feels like a lot is unexplored with the ideas of being blackmailed and suggestions that great artists are different from the rest of us throwing out intriguing concepts but not really developing them.
The final visual is impressive, neatly driving home the walls closing in but this strong finale does not redeem the many issues throughout.
Reviewer: Dave Smith
Reviewed: 10th July 2024
North West End UK Rating:
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