Which productions most inspired, moved and delighted our leading theatremakers? A 2011 revival of Arnold Wesker’s family drama is the pick of actor Elliot Levey
It was the first time in my life I found myself involuntarily giving a standing ovation. Dominic Cooke’s revival of Arnold Wesker’s 1958 play was epic and intimate concurrently. Very, very subtly, he showed that in a play examining the rise and fall of socialism, the characters were not mouthpieces, they were the embodiment.
There was no trace of a directorial hand, no showboating. With no misplaced reverence, Dominic made everything as clear as possible and never got in the way, so we were transported not just to the time of the play, but of the first production. Mesmerising. It was two and a half hours on a rainy day matinee but I was so moved it made me re-evaluate my grandparents’ lives and my family relationships. I came out a different person.
There was no trace of a directorial hand, no showboating
Truthfulness in directing trickles down into a cast. Danny Webb was extraordinary, going deeper and deeper into a near-impossible part. He starts at the bottom as a feckless depressive and ends up a stroke victim. But it was really about Samantha Spiro’s pivotal Sarah. Occasionally, you see an actor so in tune, so at one with a character that you realise you never want to see anyone else do it. It’s like conjuring: that was what Sam was like.
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It was as if it was written for her: the part of the archetypal matriarch who was entirely human. She has a final, pleading aria, screaming in anger and weeping in pain with the mantra: “If you don’t care, you’ll die.” Remembering it, I have goose pimples. In anyone else’s hands, it could be a nightmare but Sam gave Sarah a singing subtext with all the notes and grace notes. Magical.
Set in 1936, 1946 and 1956, from the East End’s Cable Street anti-fascist demonstrations to the collapse of communism, Arnold Wesker’s argumentative 1958 Royal Court play Chicken Soup with Barley is an intense drama of a Jewish family intertwining the personal and the avowedly political, an eye-opening mix at the time. It was to Dominic Cooke and his cast’s credit that the symbiosis again charged up Royal Court audiences in 2011.
The more fractured and embattled the socialism grows, the fiercer and more eloquent Wesker makes the arguments. There’s not a sentimental second since the ideal at stake is nothing less than hope. Hawk-eyed Samantha Spiro kept Sarah’s determination running through the play like a steel rope. Cooke’s masterly production ensured that the centrality of politics to the bread and butter — or chicken soup — of daily life held audiences rapt.
Elliot Levey is in Hamlet at the Royal Shakespeare Theatre, Stratford-upon-Avon, from February 8 -March 29; and Giant at the Harold Pinter Theatre, London, from April 26-August 2. rsc.org.uk, haroldpintertheatre.co.uk
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