Yasmina Reza’s comedies of middle-class
manners show how little it takes to strip us of our proprieties and set
us lunging for each other’s throats; the title of this play is probably
her most explicit statement yet of this view. We depend on artifice to
keep things functioning. The truth of this was demonstrated halfway
through press night, when a local electricity brownout resulted in a
hiatus before the show eventually went on under still-functioning house
lights and stage “workers”. Indeed, for a minute or two we were unsure
whether a programmed lighting cue had been mis-triggered, or even
whether it was an exceptionally stark but planned effect.
The latter, though, would be out of character both for a play by Reza
and a production by her now-standard London team: director Matthew
Warchus, designer Mark Thompson, lighting designer Hugh Vanstone and
composer Gary Yershon have been responsible for the London productions
of four of her five plays seen here, and all five have been translated
by Christopher Hampton. I found myself seated between well-known faces
from two of the several West End casts of Reza’s breakthrough play
Art, and the curtain rose on what
might have been the fashionable apartment set for
Art redone in angry crimson instead
of white and off-white.
The apartment is that of Michel and Véronique, whose son has
been beaten up by the eleven-year-old offspring of Alain and Annette.
The parents have gathered to discuss a formal acknowledgement of and
response to the incident. But in the course of 95 minutes (electricity
permitting), Janet McTeer’s Véronique becomes ever more
sanctimonious; Ken Stott’s Michel rapidly loses his veneer of liberal
decorum, declaring “I am fundamentally uncouth”; Ralph Fiennes’s Alain,
a corporate lawyer, alternates repeated calls on his mobile phone about
a leak regarding a pharma-business client with a display of
cold-hearted social Darwinism; and Tamsin Greig as Annette engages
increasingly in her speciality of behaving like a comically high-strung
teenager, including one of the most impressive stage vomits I have ever
seen.
The conversation quickly loses sight of its ostensible purpose to range
across all their respective personalities, professions, marriages and
philosophies, helpfully fuelled by a bottle of rum. It looks for a
while as if medical matters will predominate, with discussion of the
young victim’s corrective dental treatment and the revelation that
Michel’s mother has just been prescribed the drug whose leaked
side-effects Alain is trying to hush up. However, the details are never
brought together; like the enormous canvas which dominates upstage,
this is broad abstract impressionism rather than specific
representation. No conclusions are reached, but along the way McTeer
beats up Stott and turns out Greig’s handbag; Greig, in turn,
out-Morrisseys Morrissey with a vaseful of tulips and terminates one of
Fiennes’s phone calls with extreme prejudice.
Like
Art, this is an ensemble
piece with some bravura solos (although Greig can steal a scene simply
by standing in the background retching); like
Art, it could become a long-running
success with astute marketing of cast changes; and, like
Art, it behaves as if it were more
profound than it is. When Véronique and Alain bring Darfur and
the Congo into the debate, the effect is not simply to lampoon these
people’s inflated sense of their own tribulations, but also to
trivialise those enormities. Perhaps the canniest achievement of all is
for Reza to have written portrayals of social discomfort that we can
watch as part of the comfortable ritual of theatregoing, and for
producers David Pugh and Dafydd Rogers to sell these lifestyle satires
as lifestyle accessories.
Written for the Financial
Times.