VISIT FROM AN UNKNOWN WOMAN at Hampstead Theatre

★★

“Hampton is not a writer known for his humour, but the script is relentlessly grim”

Since Hampstead Theatre lost its Arts Council funding their programming has been shaped by the need for philanthropic donations. It seems a safe choice then, to programme the UK premiere of the latest Christopher Hampton adaptation, which will surely encourage audience attendance. Unfortunately, while this play explores many of Hampton’s favourite themes – memory and time, loss and obsession, seduction – it falls emotionally flat and is overwritten to the point of parody.

The story is moving, if slightly sentimental. It is based on a Zweig novella of the same name and is set against the building xenophobic tensions of 1930s Vienna. But this political context gets only the briefest of nods. Instead, the play focusses on two characters, a middle-aged writer, Stefan, whose biography seems curiously similar to Zweig’s own, and a mysterious young woman, Marianne, whose sexual enthusiasm is made disquieting by a peculiar familiarity with Stefan’s life. The story unravels into a personal tragedy, with sex and casual cruelty at its poignant heart.

Chelsea Walker’s direction shines in the passion between the two, but somehow fails to inject this verbose two hander with the necessary emotional depth to carry it.

Hampton is not a writer known for his humour, but the script is relentlessly grim. Marianne’s story in particular, is emotionally monotonal. Whether that’s the script, performance or direction is unclear, but there is a sore lack of light and shade.

The dynamic between the two should be fascinating, but Marianne’s unrelenting and unbelievable selflessness feels more like Zweig’s (or Hampton’s) own fantasy than a real woman.

James Corrigan, playing Stefan, has been brought on late into the process, only taking over the role after the first week of performances, and bearing that in mind his performance is impressive. He plays the writer as a Hugh Grant-esque bumbling charmer. It’s a good performance, but maybe lacks the magnetism which can birth the level of obsession which the play explores. Natalie Simpson’s performance is a little one note, but as discussed, that’s not entirely her fault. It would’ve been interesting to see this character unravel more, but there are a couple of moments where Simpson’s range is unleashed. Nigel Hastings has a walk on part of Johann the butler, which feels a little random, but he embodies it well. Jessie Gattward as a young Marianne is deeply sinister, with a moment of pained physical theatre which works well in balance with the naturalism.

The set (Rosanna Vize), sound (Peter Rice) music (Max Perryment) and lighting (Bethany Gupwell) are excellent. The set is an apartment, with a landing, and a huge pile of wilted white roses rotting in the darkened corner outside. The music, at one point echoed by Corrigan on the piano, provides a haunting refrain as the play shifts through time and memory. The lighting alters to play with shadow, building an excellent atmosphere which never quite comes to a climax.

Of all novellas ever written, or even all Zweig novellas, this is a strange one to choose to adapt. Perhaps the most interesting thing about it lies in the biographical hints of Zweig’s own life – he wrote it shortly before he left Vienna for South America where he committed suicide. Knowing that (or reading the programme) brings moving light onto the reaction of the writer, but without it, the play feels a little adrift, almost like a scene within a longer play to which the audience is not privy.

VISIT FROM AN UNKNOWN WOMAN at Hampstead Theatre

Reviewed on 11th July 2024

by Auriol Reddaway

Photography by Marc Brenner

Previously reviewed at this venue:

THE DIVINE MRS S | ★★★★ | March 2024

DOUBLE FEATURE | ★★★★ | February 2024

ROCK ‘N’ ROLL | ★★★★ | December 2023

ANTHROPOLOGY | ★★★★ | September 2023

STUMPED | ★★★★ | June 2023

LINCK & MÜLHAHN | ★★★★ | February 2023

THE ART OF ILLUSION | ★★★★★ | January 2023

SONS OF THE PROPHET | ★★★★ | December 2022

BLACKOUT SONGS | ★★★★ | November 2022

MARY | ★★★★ | October 2022

THE FELLOWSHIP | ★★★ | June 2022

THE BREACH | ★★★ | May 2022

VISIT FROM AN UNKNOWN WOMAN

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★★★★★

“The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it.”

In case you’ve been living under a rock, this show is a Covid delayed U.K. premiere of the smash hit US musical, based on the hugely successful film of the same name.

The plot sticks closely to the film. Cady Heron (Charlie Burn) is a new kid at an American high school, having been home schooled in Kenya up until now. She must choose between authentic outsiders, Janis (Baylie Carson) and Damian (Tom Xander), or the poisoned chalice of popularity that comes with being one of ‘The Plastics’. The romance plot is more central than in the film, with Cady’s main motivation being her infatuation with fellow calculus student Aaron (Daniel Bravo).

Mean Girls marks another in a current trend of film to stage adaptations, which seem to be driven, at least in part, by the temptation of an existing fan base. Certainly, as I join a small army of pink clad women (it’s a Wednesday, so we’re all wearing pink) marching towards the theatre, this plan seems to have paid off.

There’s a worry it will feel like a soulless shell of the film. But it doesn’t. The book, written by Tina Fey, who wrote and acted in the film, is smart and witty. It’s updated, with fresh and current jokes (references to Ozempic and Get Ready with Me videos) but keeps the fan favourite one-liners from the film. With clever lyrics by Nell Benjamin and music written by Fey’s husband Jeff Richmond, the show delves further into these characters who are beloved by the fan base.

The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it. Each character has a different musical style which allows the actors to stand out, each thriving in their niche.

Tom Xander as Damian is wondrously campy and fun. Every moment with him is a scene stealer. At one point he steals a mobility scooter, which results in some glorious physical comedy. Baylie Carson smashes it as Janis, standing in for Elena Skye for this performance. It’s a tricky part and they own it, giving Janis her own flair amongst bigger more flamboyant characters. Georgina Castle as the iconic Regina George is fabulously evil, Disney villain meets Instagram influencer. She has a captivating stage presence. Grace Mouat as Karen has fabulous comic timing, and her physical comedy is on point. Also, Zoë Rainey as all three of the ‘grown up’ women dazzles in her multi rolling, turning each caricature up to the max.

Scott Pask’s set design combined with Finn Ross and Adam Young’s video design is as much a nod to the film as the plot. Settings are projected onto huge screens, calling into question that line between film and theatre. Sometimes it’s backdrops, sometimes photos of the cast, of the Burn Book, and sometimes (like in a brilliant evocation of a photocopier) it’s a theatrical wonder. It doesn’t do it for me, but it does feel fresh.

Under this show’s joyous silliness, there’s an important message about female solidarity. It would be interesting to know how it plays for people who don’t know the film. But for fans, and there are many, it’s a delicious night of fetch-y fun.

VISIT FROM AN UNKNOWN WOMAN at Hampstead Theatre

★★

“Hampton is not a writer known for his humour, but the script is relentlessly grim”

VISIT FROM AN UNKNOWN WOMAN at Hampstead Theatre

Reviewed on 11th July 2024

by Auriol Reddaway

Photography by Marc Brenner

Previously reviewed at this venue:

VISIT FROM AN UNKNOWN WOMAN

VISIT FROM AN UNKNOWN WOMAN

MEAN GIRLS at the Savoy Theatre

★★★★★

“The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it.”

MEAN GIRLS at the Savoy Theatre

Reviewed on 10th July 2024

by Auriol Reddaway

Photography by Brinkhoff/Mögenburg

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