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A Modest Little Man

Upstairs at the Gatehouse

Reviewed – 9th October 2019

★★★★

“Where the show excels is in its mild but insightful wit”

Leader of the Labour Party during World War II, Clement Attlee was elected as UK Prime Minister in 1945 and went on to create the welfare state. Directed by Owain Rose, this gently comic character study tells the story of an unassuming man who ended up playing a pivotal role in shaping post-war Britain.

As the title makes clear, Attlee was not an outlandish figure. Entirely at odds with Winston Churchill’s flamboyant manner (and indeed the kinds of world leaders we see today), his seemingly cautious approach steered clear of personality-based politics and was driven by firm ideological beliefs.

His understated nature presents a challenge for writer Francis Beckett and lead actor Roger Rose, who place this ‘little mouse’ at the centre of the narrative. It’s a testament to their success that a man of so few words (except when discussing cricket) begins to emerge as quietly fascinating.

Portrayed brilliantly by Lynne O’Sullivan, Clement’s devoted wife Violet is far less reticent than her husband and partially narrates the play. The rest of the small cast prove to be hugely versatile, too. Churchill is memorably evoked by Silas Hawkins, one of three actors each tasked with handling multiple parts. The clever writing slowly reveals Attlee through the affection, respect and frustration felt by those around him, rather than through his own actions.

The simple set – an office desk and chairs – is suitably minimal and restrained, in keeping with the PM’s self-contained, low-key introversion.

At times the pacing feels a little slow, but perhaps this is merely a reflection of the more formal modes of discourse employed in the 1940s. The end of the first half seems oddly timed, too, with no one in the audience realising that it was the interval. It might have made more sense to suspend the action at a more distinctive moment, but this is necessarily a subtle narrative without instances of high drama. That’s not a criticism, either: what it lacks in terms of big gestures, it more than makes up for with charm.

Where the show excels is in its mild but insightful wit. The scene in which the Attlees meet King George VI (Clive Greenwood) is masterful in its articulation of social awkwardness. And while A Modest Little Man works as an effective history lesson, it’s also highly informative about the world we live in now. There are shrewd observations with obvious resonance in contemporary politics, such as a nod to the foolishness of holding a referendum. Plus, there’s plenty of scheming, as you’d expect, with key members of the Cabinet debating the suitability of the leader while attempting to further their own careers. Some things, it seems, never change.

Reviewed by Stephen Fall

Photography by Mark Thomas

A Modest Little Man

Upstairs at the Gatehouse until 12th October

Last ten shows reviewed at this venue:

Return to the Forbidden Planet | ★★★ | May 2018

Kafka’s Dick | ★★★★ | June 2018

Nice Work if You Can Get It | ★★★★ | December 2018

Bad Girls The Musical | ★★★ | February 2019

Strike Up The Band | ★★★★ | March 2019

The Marvelous Wonderettes | ★★★★ | April 2019

Pericles, Prince Of Tyre | ★★★ | August 2019

Working | ★★★★ | September 2019

Click here to see our most recent reviews

★★★

“a thought-provoking piece that is distinctly aware of the importance of remembering the past in difficult political climates”

Clement Attlee was described as a ‘little mouse’ (Hugh Dalton), a man that had ‘no natural presence’ (Sir Alan Lascelles). It seems difficult, therefore, to make a play out of his life. But it is not impossible and it seems important to try. On the eve of the destruction of it, this timely play tracks how such an unusual man came to power and set up the Welfare State. Written by his biographer, Francis Beckett, the play is full of fascinating historical detail and cutting one-liners even when it falters in the drama.

The piece unfortunately lacks momentum, rendering the emotional tone unchanging. The most poignant moment is saved for the end, for Attlee’s final speech which resonates in its simplicity and resolve. It seems an enormous challenge to get underneath Attlee’s quiet modesty. What the play loses in pace, it gains in gradually establishing Attlee’s personality.

Roger Rose’s Attlee is appropriately subtle, with small but significant movements that bring the character to life. Lynne O’Sullivan plays Violet Attlee, who also narrates the story and does a wonderful job of holding the piece together with empathy and humour. Clive Greenwood’s performances as King George VI, Nye Bevan and Ernest Bevin are particularly enjoyable and dynamic.

Though the lights could be a little glaring, Owain Rose’s direction is uncomplicated and effective. The modest table and chairs makes for a stage that concentrates on the story and the characters’ relationships. The cast generally hold the array of characters well, though there are a few accents out of place and the odd forgotten line. Indeed, the highlights of the play are when the cast are onstage together, debating about how to negotiate the creation of the National Health Service and other nationalisation plans against the tide of criticism and financial difficulties.

Beckett’s text struggles to make a drama out of Attlee’s career. What it does instead, is make an important and admirable political commentary. Beckett’s writing does not attempt to romanticise the post-war period which so many other writers have. There are clear allusions to Corbyn and a fearless criticism of a class prejudices that are, clearly, very relevant today. This is a thought-provoking piece that is distinctly aware of the importance of remembering the past in difficult political climates.

Reviewed by Tatjana Damjanovic

Photography by Mark Thomas

Upstairs at the Gatehouse

Reviewed – 9th October 2019

★★★★

“Where the show excels is in its mild but insightful wit”

As the title makes clear, Attlee was not an outlandish figure. Entirely at odds with Winston Churchill’s flamboyant manner (and indeed the kinds of world leaders we see today), his seemingly cautious approach steered clear of personality-based politics and was driven by firm ideological beliefs.

The simple set – an office desk and chairs – is suitably minimal and restrained, in keeping with the PM’s self-contained, low-key introversion.

Reviewed by Stephen Fall

Photography by Mark Thomas

A Modest Little Man

Upstairs at the Gatehouse until 12th October

Last ten shows reviewed at this venue:

Bread and Roses Theatre

Reviewed – 17th January 2019

★★★

“a thought-provoking piece that is distinctly aware of the importance of remembering the past in difficult political climates”

Reviewed by Tatjana Damjanovic

Photography by Mark Thomas

A Modest Little Man

Bread and Roses Theatre until 26th January

Last ten shows reviewed at this venue: