Inter Alia - Review

National Theatre, London

****

Written by Suzie Miller

Directed by Justin Martin

Rosamund Pike

Inter Alia is another theatrical gem from Suzie Miller, who in 2019 premiered Prima Facie. Staying within the jurisprudent ambit of the English legal system, Inter Alia sees Miller focus on Crown Court judge Jessica Parks and the challenges she faces in her domestic life when teenage son Harry is accused of a sex crime. 

Miller offers a meticulously detailed analysis of Park’s privileged life on and off the bench, where with her KC husband Michael, middle-class luxuries are plentiful until the idyll is painfully pierced. The script offers up a troubling glimpse of the manosphere, alongside Parks’s descent into her own personal hell as she finds herself facing profoundly personal conflicts. 

Coincidentally (one imagines), there are hints of the recent TV drama Adolescence in Miller’s narrative and if there is a flaw in the play that otherwise offers up a powerfully sympathetic critique of 21st century feminism, it is that much like Adolescence, the completely white casting of these stories’ lead families fails to reflect some of the more complex diversities of today’s world. And the end of Miller’s story, while being acutely painful, lacks a credibility.

The evening’s stagecraft however is world class. Rosamund Pike is Parks, onstage throughout the play’s 1 hr 40min one-act entirety, in a performance that is a breathtaking tour de force. As her character faces agonising realisations, Pike’s mastery of the dialogue is sensational, picking up the slightest nuances and inflections in Miller’s acutely perceptive script.

Jamie Glover steps up as her husband, also delivering a stunning take on middle-aged husbandry and fatherhood, with Jasper Talbot completing the play’s adult trio as the hapless Harry, again with an assured turn.

The production also showcases the flawless technical competencies of the National Theatre. Ben and Max Ringham’s sound design is exquisite, equally Natasha Chivers’s lighting work. Miriam Buether’s set is a wonder. In essence a staging of simple domesticity that momentarily can transform into a courtroom - however the brilliance of Buether’s achievement in the play’s final act has to be seen to be believed.

Runs until 13th September

Photo credit: Manuel Harlan

Hamlet - Review

Harold Pinter Theatre, London

****

Written by William Shakespeare

Directed by Robert Icke

Andrew Scott

Andrew Scott’s take on Hamlet, in Robert Icke’s Almeida production that has just transferred to the West End, is a testament to the versatility of Shakespeare’s prose. With Benedict Cumberbatch, TV’s Sherlock, having been London’s last celebrity Hamlet, Scott’s (who played Sherlock’s nemesis Moriarty) take on the role offers us a striking glimpse into the breadth of interpretation and intrigue that is offered by the Prince of Denmark.

On Hildegard Bechtler’s modern, flawless set, seamlessly lending itself from Elsinore’s grandeur to its dungeons, the cast offer up the classic tale with daringly long pauses and underplayed comic timing. They revel in the poetry and articulation that the dialogue commands so that the audience, however numb their bums are getting as the third hour passes, never miss a moment.

The play is directed with Icke’s signature dystopian flare. His is a Denmark obsessed with cameras on every corner and machine guns in authoritarian hands. Here it is only Hamlet who finds this setup odd and slightly ridiculous. Scott plays the perfect madman, convinced of his sanity in a world of insanity, grounded only by his friend Horatio (Joshua Higgott) and the wisdom in his monologues.

As Hamlet’s perceived craziness unravels, with Scott’s small voice and large gestures demanding a quiet room, there is little doubt of the incessant screaming inside this mourning man’s head, buried under his philosophical and iconic words.

The drama is all the better highlighted by Natasha Chivers’ lighting, unsettling the audience with flashing lights and almost spotlit soliloquies. Bechtler’s costumes dress Hamlet as a woeful performer, with others as uptight citizens in a despotic world. 

Jessica Brown Findlay’s marvellous Ophelia is a light in the darkness for everyone from Hamlet to Polonius (played with bumbling perfection by Peter Wight). The old man’s inherent waffling makes most sigh, smile and shake their head - thus his death is even sadder, with Ophelia’s loyalty and despair ever more understandable.

There is much clarity of tone from Scott and the ensemble, which occasionally contrasts with Icke’s work feeling rushed and muddled. Key moments unfold in seconds, while asides seem to last for minutes. And as for the play’s conclusion it is over in the blink of an eye, almost as if the dramatic action of the finale had not been given the same care and attention as elsewhere in the production.

Saying that, the show is well worth the night bus home, offering an evening of passion and surprise for even the most well-versed Shakespeare student. Scott’s is a Hamlet we can all relate to.

Runs until 2nd September

Reviewed by Heather Deacon

Photo credit Manuel Harlan