“the problems in the script are predominantly carried by a strong, committed cast.”
Tableaux of war open the world premier of Robert Graves’ 1929 play, ‘But It Still Goes On’. This is a “post-catastrophic comedy” that mixes farce with tragedy and discusses post war disillusionment, creative jealousy and repressed homosexuality, amidst a tangled web of lovers and a gun that follows them all through the play.
The cast is strong across the board. Alan Cox is sharply witty, wicked and playful as Dick, stuck in the shadow of his blundering father’s (Jack Claff) literary achievements. The character is written a little too flippantly, making it more difficult to engage with Dick on an emotional level but to Caves’ credit he still carries the performance.
The most affecting scene of the play, is the beautiful moment between David and Charlotte, played movingly, respectively by Victor Gardener and Sophie Ward, as both confess, with a quiet resignation, their repressed sexualities and make plans to “normalise” themselves through marriage. It is a deeply sad indictment of the times and their fates are equally tragic, the product of a homophobic society and the necessity to conform.
There is a tendency towards melodrama, particularly in the latter portion of the play, again a product of the writing rather than the acting. The lurking figure of war feels unnecessarily symbolic, given that the text discusses this at such length, and it is a sometime jarring addition to an overly busy stage.
The set is uninspiring, a white marquee edging the stage which is punctuated by clumsy and bland pieces of furniture. The costumes, on the other hand, are beautifully put together, eveningwear and tennis outfits alike, showcasing costume designer Lindsay Hill’s clear eye for detail and quality.
An entertaining evening that discusses sexuality and post-war feeling in time for the centenary of the First World War, the problems in the script are predominantly carried by a strong, committed cast.
“The second act brings with it a level of energy and tension that you would not have guessed”
Finborough Theatre is currently playing host to the European premiere of Arthur Miller’s final play. Set in a hotel in Reno, Nevada, in 1960, we see the production team of a Hollywood movie in a state of turmoil over the indisposition of the troubled leading actress, Kitty, who is riddled with self-doubt and has turned to drugs to remedy her inner demons. As the team ponder over how best to deal with the situation, it becomes clear that the picture is in jeopardy and indeed may not be finished in time.
The play’s first act revolves around a series of debates about how to get Kitty fit for filming and save the picture. The ever-present issue of the objectification of women in the film industry is brought into play here, with cinematographer Terry (Patrick Bailey) making frequent, somewhat inappropriate, comments about her physical appearance, implying that this is what ultimately sells pictures. Kitty does not appear on stage which makes it all the more a case of her being treated as an object whose opinions aren’t considered. As noted by the play’s director Phil Willmott, “She is consistently treated as a problematic resource that needs to be brought into line, with no recognition that it is this which has driven her to new depths of drug dependency and despair”.
The second act brings with it a level of energy and tension that you would not have guessed would follow the arguably invariable nature of the first. When Kitty’s trusted acting coach Jerome Fassinger (Tony Wredden) is called in to try to get through to her, each character takes turns to visit her in her hotel room and, through a series of monologues, attempt to coax her into finishing filming.
Lighting (Rachel Sampley) and sound (Nicola Chang) are used exceptionally well during the second act. Throughout the delivery of the monologues, a high tempo, almost manic, jazz piece plays, conveying a sense of urgency. A dim spotlight frames the actors as their characters converse with Kitty. Both these design elements make for a tense, high-octane second act, where the desperation of the production team to get their star fit to perform is clear to see, even without the presence of an actress playing Kitty for them to address. The actors deliver their lines so well that it isn’t hard to imagine they are talking to the troubled star.
Full of fantastic performances from all actors, this play is a clear depiction of the harsh realities of a, on the surface, glamorous industry. It’s also not hard to draw parallels between the play’s content and playwright Arthur Miller’s own struggles with his wife of five years, the infamous Marilyn Monroe. Although we don’t see or hear an actress playing Kitty, empathy can definitely be felt for her thanks to the way she is spoken about and the pressure she must be under. In summary, Finishing the Picture is a thought-provoking, well-executed production of Arthur Miller’s swansong.
