Force Majeure

adapted by Tim Price from Ruben Östlund's film

seen at the Donmar Warehouse on 6 January 2022

Michael Longhurst directs Rory Kinnear as Tomas, Lyndsey Marshall as his wife Ebba, Oliver Savell and Bo Bragason as their children Harry and Vera (in the performance I saw) and Siena Kelly and Sule Rimi as their friends Jenny and Mats in this inventive stage adaptation of the Swedish film Force Majeure released in 2014.

On a fantastically inventive stage designed by Jon Bausor Tomas and his family arrive in a ski resort for a family holiday. The children are fractious, young Harry whining and teenage Vera chilled out, while Ebba ruefully acknowledges to another guest that it is almost imposible to separate her husband from his phone and work commitments. 

Anything could trigger a crisis: an avalanche does the trick, causing Tomas to flip into panicked survivalist mode and then, afterwards, denying his reaction until a video forces him to realise that his memory of events cannot be correct. The impending collapse of his marriage, built as it is on a wearied acceptance of disappointment on the part of his wife, finally forces him to confront his insecurities. In a brilliant counterpoint to his agony, his friend Mats has a soul-searching night arguing with his partner which is a comic tour de force of psychobabble.

It's incredibly ambitious to stage a piece set in a ski resort in the confines of the Donmar stage, but with a steeply raked and white carpeted floor the place is brought to life as various cast members ski unerringly down the slope and into one of the passages used by the audience to reach their seats. In the meantime the crisis afflicting Tomas and his family is played out on the slopes and in their hotel suite. Actors of the calibre of Rory Kinnear and Lyndsey Marshall can be depended on to articulate the emtional rollercoaster of Tomas and Ebba's 'holiday', allowing us to see everything from ridiculousness to self-indulgence to pain, but it is a tribute to the young actors playing their children that sibling brattishness can be so convincingly played and so easily be shown to mask deeper insecurities. Harry can whine with the best of them about his missing sunglasses, but he is clearly anxious when he senses the tensions rising between his parents, while Vera's adolescent stand-offishness masks (as it often does) a deep-seated dependance on the family not being ruffled.

There is a fragile optimism at the end when Harry accusingly asks his father whether he is smoking and Tomas instinctively denies it even while he has a cigarette in his hand. Then he quietly tells his son to ask the question again, and confesses that he is smoking but that he will give it up when they get home. For the first time in years he is not being an invincible man and we can hope that his faltering steps will lead him out of the prison he built himself.

Given the twin dangers of this play wandering into melodrama or mere superficiality it is a credit to all concerned that the balance of humour and agony was finely maintained to produce an enjoyable yet thought provoking entertainment

Young Marx

by Richard Bean and Clive Coleman

seen at the Bridge Theatre on 20 December 2017

Nicholas Hytner directs Rory Kinnear as Karl Marx, Nancy Carroll as Jenny von Westphalen, Oliver Chris as Friedrich Engels and Laura Elphinstone as Helene Dumuth in this inaugural production of the Bridge Theatre situated in one of the new developments on the south-west side of Tower Bridge.

The play concentrates on the early years of Marx's life in London when he and his wife Jenny and four children (in the play, only two) and Helene Dumuth were living in a two-room flat in Dean Street Soho. Though some events have been 're-arranged' so that they can appear within this setting and time frame, the scenes presented in the play are essentially 'true', though at the same time the playwrights have noticed the farcical elements of the situation and have consequently emphasised Marx's larrikin nature as a young man.

The Threepenny Opera

by Bertolt Brecht and Kurt Weill

seen at the National Theatre (Olivier) on 24 June 2016

The production is a new adaptation by Simon Stephens directed by Rufus Norris and designed by Vicki Mortimer. It features Rory Kinnear as Macheath, Nick Holder as Peachum, Haydn Gwynne as Mrs Peachum, Rosalie Craig as Polly Peachum and Sharon Small as Jenny Driver.

Brecht's technique of alienating the audience from their conventional expectations of 'an evening at the theatre' is marvellously emphasised in this production, with the vast Olivier stage exposed in all its glory, flats and flights of stairs wheeled about by the cast, the flats often faced away from the front of the stage (showing all their struts) and just as frequently revealed to be utterly flimsy as various characters burst through them to enter a scene. Occasionally the revolve is cranked onto service by means of a giant lever wheeled to the front of the stage and laboriously 'worked' by an actor; on only one occasion is the drum used to bring a pre-constructed set up to stage level.

The Trial

by Franz Kafka adapted by Nick Gill

seen at the Young Vic on 12 August 2015

The play is not, of course, by Franz Kafka - it is a rather free adaptation from the famous novel. It is directed by Richard Jones and features Rory Kinnear as Joseph K, with eleven other actors taking all the subsidiary roles, in particular Kate O'Flynn playing some six significant females in Joseph's life, as imagined by Nick Gill.

The first four rows of the audience on either side of a long transverse stage are reached through corridors of flimsy plywood, and each row has an equally makeshift shelf in front of it, rendering everyone sitting there as putative jurors in the eponymous trial. The acting space itself, designed by Miriam Buether, has two parallel belts which are frequently in motion to allow various props and settings to appear and disappear as required. Scenes are often framed by doors at either end, which are free-standing and are often slammed loudly. The effect is nightmarish, especially as it gives rise to the thought that all significant spaces for Joseph K are essentially alike in their configuration. The phrase 'everything belongs to the Court' begins to have a physical as well as a metaphorical resonance.