Tag Archives: Zachary Hart

AN ENEMY OF THE PEOPLE

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Duke of York’s Theatre

AN ENEMY OF THE PEOPLE at the Duke of York’s Theatre

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β€œThe performances are superb. Matt Smith, as Dr. Thomas, owns the stage.”


Before Henrik Ibsen even became a playwright, he was well known for his controversial, anti-establishment opinions. His early works, and poetry, revealed his rebellious nature as he challenged convention and criticised society. His dramatic works cut deeper into the darker side, holding up a mirror to human nature and its inherent hypocrisies. Inevitably he was met with divided opinion. β€œAn Enemy of the People” was no exception, and Thomas Ostermeier’s modern adaptation (translated by Duncan MacMillan) looks set to be equally divisive.

Co-adapted by Florian Borchmeyer, the play’s structure is also two-sided; the interval acting as a sharp watershed between two very different landscapes, even though it overlooks the same, indeterminate, Middle England spa town. It opens with a song. The main players comprise a shaky, indie-folk-rock band, the initial conversations breaking away from the music then weirdly segueing into Bowie’s β€˜Changes’. It is difficult to determine whether this subplot has a purpose, or whether it is a surreal contrivance, but it soon gets forgotten anyway. The music is definitely not their day job.

Dr. Thomas Stockmann is the chief medical officer at the town’s spa baths. He has discovered that the spa’s water is contaminated. Wanting to do all he can to alert the citizens he enrols newspaper hacks Hovstad and Billing to run the story in order to prevent the town being poisoned – possibly to death. He faces opposition in the shape of his brother Peter, the town mayor who sees the closure of the baths as the death knell to the town. There is tension too between Thomas and his wife Katharina, the local upstanding yet radical schoolteacher.

The dialogue bounces along breezily, occasionally bogged down with the earnestness of late-night-student-digs debates. Yet the writing recognises this pitfall and manages to pre-empt the charges and poke fun at itself. β€œYou sound like an undergraduate” quips Thomas to Hovstad. The blackboard walls of Jan Pappelbaum’s set are strewn with pseudo-scholarly slogans, which are eventually whitewashed over – figurately and literally. The arguments that are dished up, however, are chillingly pertinent and so close to the bone that there isn’t enough skin left to make crawl.

 

 

The performances are superb. Matt Smith, as Dr. Thomas, owns the stage. A lone wolf howling at the moon, his single-mindedness streaked with a naivety and good intentions, while Jessica Brown Findlay’s Katharina stands by him, despite being constantly at the end of her tether. Shubham Saraf, as journalist Hovstad, feeds Thomas’ fervour, encouraging his crusade like Lady Macbeth. Is he after the truth, though, or just a good story? His own quest for the truth dissolves in the saliva from the Judas kiss he plants on Thomas. Fellow journo Billing is ultimately equally disloyal – Zachary Hart giving an outstanding performance as the comic foil. There is much humour too in Paul Hilton’s mayor, Peter. As smooth and slippery as an eel his words drip from his angular grimace. The naked face of capitalism and pragmatism that is all too familiar on our front pages. Katharina’s father, Morten Kill, is an imposing figure in Nigel Lindsay’s hands. Bizarrely an Alsatian dog is also in his hands, presumably a metaphor for the dark, shady, business-minded aspects of Kill’s character beneath the leftist veneer. The dog is too friendly and well behaved to pull it off, however. Conflicts of interest also plague Aslaksen, the newspaper’s publisher. Priyanga Burford brilliantly swings from devout, self-serving pragmatism to obsequious cowardice in a glorious deadpan and often funny performance.

The second act is a completely different beast. Much snappier and forceful, it is full to the brim with contemporary, post-Brexit, post-Covid references and up-to-the-minute echoes of modernist realpolitik. It rips down the fourth wall completely, inviting the audience into a β€˜Question Time’ scenario. It is obvious there are some plants in the audience, but the effect is immediate and chilling. The real coup is Matt Smith’s tirade at the podium. Brilliantly and convincingly delivered. Smith is flawlessly believable, earning his ovation, whether one agrees with him or not.

A paint splattered transition leads us into the final, short act. The journey there has been almost as messy as the stage now is (I pity the backstage crew) but it has been swaggering, anarchic and fearless. And we are rewarded with an unexpected hook. In the course of the last two hours is has been difficult to decide whether Thomas is an enemy of the people or an enemy to himself. A final twist – a mere meeting of eyes – will help you decide.


AN ENEMY OF THE PEOPLE at the Duke of York’s Theatre

Reviewed on 21st February 2024

by Jonathan Evans

Photography by Manuel Harlan

 

 

Previously reviewed at this venue:

BACKSTAIRS BILLY | β˜…β˜…β˜…β˜… | November 2023
MUCH ADO ABOUT NOTHING | β˜…β˜…β˜…β˜… | February 2023

AN ENEMY OF THE PEOPLE

AN ENEMY OF THE PEOPLE

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100 Paintings

100 Paintings

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Hope Theatre

100 Paintings

100 Paintings

Hope Theatre

Reviewed – 23rd May 2022

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β€œThere are some very strong, exciting ideas here, but they’ve been mostly lost along the way”

 

Set in a near dystopian future in the now decaying but still fabulous Savoy Hotel, the premise of 100 Paintings, as directed by Zachary Hart, seems a perfect marriage of punk and glamour. With the strange addition of an artist trying to produce 100 paintings for the hotel so that he and his mother, otherwise destitute, can stay, there’s an abundance of potential for this to be perfectly bizarre, funny and full of meaningful pathos.

Unfortunately, writer Jack Stacey has missed the mark by a rather long way. Instead, we’ve got a very broad dramedy about an overbearing mother (Denise Stephenson) and an over-mothered son (Conrad Williamson), with occasional unexplained mentions of a destroyed city beyond the bedroom walls. When we’re introduced to Bea (Jane Christie) for example, she’s wearing a respirator mask, and her face is covered in soot. Ooh intriguing. But then we’re fed a subplot that has absolutely nothing to do with the outside, about her recently deceased dad having an eighteen-year affair. Honestly, what is this show about?

Everyone plays their parts well enough; it’s all very yelly and enunciated, but that seems appropriate for the sort of panto-like comedy Stacey has gone for: β€œOh it’s on the tip of my tongue”, says mother. β€œWell stick out your tongue then!” her son quips.

Designer Zsofia Sarosi has done well to create a messy bohemia: stylish wallpaper suitable for a five-star hotel, now peeling and ripped, is covered with irreverent streaks of paint; a dainty drinks trolly is stacked with brushes and empty bottles, and a little coffee table is piled high with teacups and paint pots.

There are some very strong, exciting ideas here, but they’ve been mostly lost along the way. Perhaps if it were simply a mother-son dramedy, without the added mystery of a dystopian future, it wouldn’t feel so disappointing in its execution, and it would certainly be a lot less confusing. Alas.

 

 

Reviewed by Miriam Sallon

Photography by Jack Whitney

 


100 Paintings

Hope Theatre until 4th June

 

Previously reviewed at this venue:
Fever Pitch | β˜…β˜…β˜…β˜… | September 2021

 

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