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Freud's Last Session

Freud’s Last Session

★★★★

King’s Head Theatre

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Freud's Last Session

Freud’s Last Session

King’s Head Theatre

Reviewed – 20th January 2022

★★★★

 

“a passionate dialogue between two great minds, performed by two great actors”

 

“Do you count on your tomorrow’s? I do not” quips Dr. Sigmund Freud during the opening moments of Mark St Germain’s “Freud’s Last Session”. A BBC announcer has just echoed and crackled from the radio, detailing Hitler’s refusal to withdraw his troops from Poland. It is not the impending war, however, that gives the sense of ‘borrowed time’, but Freud’s terminal cancer that eats away at his health and his will to live.

Dr. Freud is addressing his question to C. S. Lewis who has come to visit him in his Hampstead home. It is an imaginary meeting: not improbable, but one that lets us into a riveting fantasy world to witness the conversations between two of the 20th century’s greatest academics. Lewis’s recent embrace of Christianity stands in stark contrast to Dr. Freud, whose atheist beliefs couldn’t be more different. The ensuing duel, in which words are the only ammunition, powerfully demonstrates the differences between the two men – in age, perspective and spirituality – but also how well matched they are. You can sense the mutual respect and appreciation as they each fight for their own intellectual (and in Freud’s case, literal) survival.

Crammed into the intimate back room of the King’s Head, the audience is a swarm of flies on the wall. Brad Caleb Lee’s design is part office, part practice room, juxtaposed with imagery from Freud’s mind splashed on the floor and the walls. This does not detract from the realism of the piece. Yet what essentially gives the play its authenticity is the impeccable performances from the two actors. Within minutes you forget you are in a theatre. Julian Bird, as Dr. Sigmund Freud, exudes the unseen bruises of a dying man while refusing to let his brilliant, active mind be dragged down by illness. An extraordinary performance in which every sinew is part of the role. Language and body language are inextricably married. Séan Browne’s C. S. Lewis is equally fascinating and steeped in authenticity. Arriving late for the meeting he is initially diffident and perhaps aware that he might be out of his league here. But as the couple lock horns his arguments reach higher ground. The cut glass (albeit chipped rather than clipped) English accent capture’s Lewis’s status perfectly. He has yet to write his famous works and is still finding his voice, but Browne wonderfully depicts a character who holds fast to the convictions of his beliefs.

Under Peter Darney’s direction, the script explores the beliefs of both men like a choreographed sparring match. Amid the air raid sirens, the two scholars debate religion, love, family, the existence (or non-existence) of God, the meaning of life and, of course, sex. Admittedly in an hour and a half you cannot dig too deep into the respective philosophies, but we get a pretty nutritious nutshell. “Things are only simple when we choose not to examine them”. Freud’s line is a reminder that we need to keep our attention focused. Low flying planes and radio bulletins punctuate the piece with reminders of the impending war, during which Browne betrays a shell-shocked vulnerability that adds further light and shade to Lewis’s puritanism. There is a touching, and graphic, moment when he tries to alleviate the physical pain Freud is in.

There is no real conclusion to the piece, but then again, the debate between believers and non-believers will never be resolved. Based on a passage from Dr. Armand Nicholi’s “The Question of God: C. S. Lewis and Sigmund Freud Debate God, Love, Sex, and the Meaning of Life” we come away a little more enlightened. “It is madness to think we could solve the greatest mystery of all time in one morning” says C. S. Lewis. “Freud’s Last Session” doesn’t try to solve it in an evening either. But it does offer up a passionate dialogue between two great minds, performed by two great actors. It’s not an easy text to get right but they achieve it in a very real way with performances as precise as they are natural.

 

Reviewed by Jonathan Evans

Photography by Alex Brenner

 


Freud’s Last Session

King’s Head Theatre until 12th February

 

Recently reviewed at this venue:
Beowulf: An Epic Panto | ★★★★ | November 2021
Tender Napalm | ★★★★★ | October 2021

 

Click here to see our most recent reviews

 

The Grönholm Method – 4 Stars

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Grönholm

The Grönholm Method

Menier Chocolate Factory

Reviewed – 23rd May 2018

★★★★

“The piece twists and turns in a wonderfully layered structure of discovery”

 

Four people are waiting. These four people are interviewees. They have been told to expect a group interview but the ensuing ninety minutes is far more surprising and gruelling than any might’ve expected. Envelopes appear periodically in a drawer delivering them tasks to complete: they must decide which of them is not a real candidate but a member of HR, whether the company ought to hire someone undergoing gender reassignment, whether unstable mental health and extra marital affairs affect a person’s working ability, and so on. Inspired by actual procedures in HR departments, Jordi Galceran’s play, which premiered in Barcelona in 2003, is reset in a New York office by director BT McNicholl.

As the characters desperately try to puzzle their way through task after task, the audience are equally drawn in, as in the dark as the candidates themselves. The piece twists and turns in a wonderfully layered structure of discovery. It is impossible not to be drawn in, but the draw is surface level. This is not a nice world, and the people in it reflect that. Even at their most sympathetic it is hard to truly feel any empathy for them, and every breakdown is suspect in a play that refuses to stop surprising us. The piece is more thriller than drama, and there is little in which to emotionally invest or engage.

The cast of four is consistently strong. Jonathan Cake’s brutal Frank Porter is harsh, calculating and desperate, abhorrent at points, oddly likeable at others, albeit purely for his tenacity. Greg McHugh is softer but just as committed, the Harvard graduate who is revealed to be a trans woman, though the other characters’ universally transphobic responses perhaps show the play’s age for the first time. Laura Pitt-Pulford is Melanie Douglas – “Three men and a woman, as always,” she comments on arrival – determined to the point of ruthlessness, juggling the demands of work and life with a pragmatic coldness. John Gordon Sinclair’s Rick is a much needed contrast to his counterparts, bright and funny, always on hand with traffic-based small talk and tic tacs.

Tim Hatley’s design is beautifully detailed and fantastically well executed. A plush corporate conference room with white leather chairs, wooden panelling across the walls and an excessive amount of glass. The floor to ceiling windows at the back of the stage reveal the New York skyline, gradually darkening as the play goes on (lighting design by Howard Harrison).

BT McNicholl’s production is slick and well executed, an insight into an ugly world where brutality is rewarded and humanity stamped out, supported by four consistently strong performances.

 

Reviewed by Amelia Brown

Photography by Manuel Harlan

 


The Grönholm Method

Menier Chocolate Factory until 7th July

 

 

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