The Real Thing

 

When: 5th October (Matinee)

Where: The Old Vic, London

Writer: Tom Stoppard

Director: Max Webster

Immediately after leaving the theatre I thought this was a good solid play, but nothing much of note. Yet, a day later thinking back on it there's something interesting in the artistry of this production. It's a beautifully crafted play written by Tom Stoppard and I think this specific production brings that effortlessly into the contemporary through its use of set and the included characters of the stagehands. 

The play itself written by Tom Stoppard is the beating heart of this play. Whilst that could be said for most productions as it's the story and the words that bring something to the stage in the first place, more so than many the actors are simply hanging off the text, it is the craft of the play and the precision of Stoppard's story that make this play something worth watching. Initially it didn't fully engage me, I found it a little confusing and whilst I could tell there a was a bigger picture present I couldn't quite put my finger on it. This led me to quickly deem this poor writing or perhaps a poor portrayal of good writing, but as it developed I understood that this was the point of the play. It confuses you, and disorientates you in the beginning to prove its point - What is reality? 

This question of what is reality, is the concept that this piece portrays on a multitude of levels. In the writing of the play the first few scenes do not seem to join together its only as we are given more that we are able to fit pieces together, or are we? Things to that are mentioned earlier in the play or used as evidence for betrayal and break-ups are only shown to us later but in a different context. Its a brilliant use of story vs plot that Stoppard uses to his advantage against a naïve audience. As a result of this I did find the second half of the play more enjoyable, it provided a satisfaction. Towards the end I felt persuaded that none of it was real, and yet there were still moments that threw me off catapulting me back to scenes at the very beginning. 

The main four actors used Stoppard's words wonderfully, there was a rawness but a clarity to their work that was needed for this production. I think it's very difficult to judge the acting performances, I could not say that the characters were fully believable or likeable, because that would be in opposition to the purpose of the script. What these actors all understood was that whilst they were playing characters, with perhaps multiple levels, they needed to provide uncertainty and the raw emotion needed to convince an audience it could be real but it could also be a lie. This production, interestingly also added another layer keeping the audience aware of the fact that they were watching a play in the first place. Needing the actors to show character but also holding back just enough that they could be viewed as actors. It was a difficult task that I think all four performers executed successfully. 

This extra layer added by Max Webster to keep reminding the audience that they were watching a play in the first place provided the production with some of my favourite moments. 

The use of the stagehands was brilliant. The play opened with a stagehand placing a record on the record player downstage, immediately setting up this idea that you are watching a play within a play (within a play?). In the first half, the stagehands continued to enter during scene changes moving set pieces around. I hate unnecessary set changes and whilst initially I thought many of these set changes were unnecessary it's their unnecessarity that makes them so necessary. As the play progressed the stagehands became more involved, watching the action from the edges of the stage, or holding on just a few moments to catch the eye of an actor, in the closing moment of the first half our lead stagehand takes the light bulb hanging from the ceiling and swings it around Annie's (Bel Powley) head. I'm not sure I fully understood the relevance of this action but it was visually intriguing. 

However it is the opening of Act 2 that was my favourite. Mr Blue Sky is playing and Henry (James McArdle) along with his stage hands are singing along and dancing around the space, standing on the sofa, enjoying themselves before they are interrupted by Annie (Bel Powley). Its this moment for me that was not only a perfect way to restart the energy after an interval, but it also confirmed to us as an audience that we cannot believe what is real. The 'play' has infiltrated the 'real', providing the floodgates for anything to happen in the second part. This blur was a brilliant decision from Webster that is one of the most creative ways he uses to modernise the play. 

The other reminder that this is all a play is the stage design. The stage consists of a single sofa, a foot rest and a coffee table, these move around the stage providing slightly differing purposes at times but always in view. A few other pieces of set move on and off most notably the moving boxes, which to me felt a little lost in this production. Its this similarity and the subtle changes that further enhance the confusion, the sets are all so similar its different to tell them apart and every time the set moves its very slightly different, whether that's being in a slightly different place or adding a potted plant for example. There is also a moment when the houselights come up towards the end, as they are rehearsing the TV show, revealing the audience. Everything plays with the audience leading them further into a rabbit hole of questioning, and reminders that nothing is real. 

The production is brilliant, and yet it's only after that I'm realising this. In the moment I was lost in the confusion of it, perhaps also tiredness from the week, but in hindsight I admire this productions expertly formed portrayal of a meticulously crafted play. Whilst I am only realising it's genius in hindsight, the ways in which I am still able to think about it speak to the longevity of the production its self and the play. By continuing to think about it I have been able to feel actively engaged by the production long after leaving the theatre which is something many plays fail to do. So whilst I was not sure whether I had enjoyed it on the day, I do think this is a fascinating production and I am glad that I was able to experience it.