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embers
By Christopher Hampton
Based on the novel by Sandor Marai
Directed by Michael Blakemore
Duke of York’sTheatre
St Martin’s Lane, London WC2
Designed by Peter J Davison
Lighting design by Mark Henderson
Call + 44 (0) 870 060 6623
Tickets £10 - £42.50
Mon – Sat 7.30pm; Wed & Sat Mats 2.30pm
Running time 2.5 hours with intermission
Through June 2006
Wait 30 years, then get it off your chest
There is a certain frisson of expectation when going to a live theatre performance by one of the nation’s most accomplished stars. In this case it is winner of Oscar (Reversal of Fortune) and other awards, Jeremy Irons. Indeed, there are few more plausible actors in the world.
Almost unrecognisable behind his full beard and moustache, the mellifluous tones of Mr Irons immediately signal his presence. Stiffly formal in military style and attire, he waits to confront his former close friend, Konrad, whom he has not seen for 30 years, who may or may not have decided at the last moment not to kill him, and who may or may not have indulged himself in his wife’s affections (and bed).
Konrad, played with impressive stillness by Patrick Malahide, spends 99% of the evening listening to Jeremy Irons’ Henrik. As such it could be either a thankless nothing of a part or a scene stealer. It is testament to Mr Malahide’s skill and integrity that it is neither. Rather it is an enjoyable alternative to the overwhelming volume of what appears to be Konrad’s endless beating around the bush, but is, in fact, the cathartic ‘confession’ of 30 years of suspicion which have eaten away at his soul.
In the end, Henrik has his answers, and the blessed relief of the weight of decades of doubt, which means that his life might continue to its end with a semblance of peace. The depths, layers and nuances of Konrad’s analysis of the eternal triangle’s convolutions is fascinating and demonstrate the tortured internal life that Henrik has lived since Konrad deserted his friend and his lover.
The strangely English behaviour of the two old gents, though, means that in Jeremy Irons’ hands there is only a muted sense of threat, in spite of his brandishing his service pistol while waiting for Konrad to appear.
The impressive array of skills that Mr Irons demonstrates is, unfortunately, undercut by his having brought his screen techniques to the large Duke of York’s theatre. Not surprising, perhaps, as this is his first play after 17 years of film and TV work, but the result was that I spent the entire evening straining to hear him. Others near me admitted to the same experience. As I was only 12 rows back, I would advise anyone going to decline any seats further back than 5 rows. This might provide the sense of intimacy that this absorbing, essentially private, studio piece demands.
Highly Recommended
Saul Reichlin
London correspondent
Talk Theatre in Chicago podcast
www.ChicagoCritic.com
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