Corin Redgrave’s return to the stage
since his 2005 heart attack has been gradual; only now (and buffeted
also by the news of his niece Natasha Richardson’s grave injury) is he
essaying a two-week run of a full-length-ish play. (In fact it clocks
in at about one hour and 40 minutes including interval.) Redgrave and
co-star Nick Waring keep scripts in hand as they deliver extracts from
the life and letters of blacklisted Hollywood screenwriter Dalton
Trumbo. Even “on the book”, Redgrave sounds hesitant and uncertain at
many moments, but he seeks to turn such phrasing into part of his
characterisation, so that his Trumbo’s diffident, sometimes even
slightly camp manner of speech contrasts with the fiery, pugnacious
sentiments he is expressing.
For Trumbo was never a man to take the easy way. (According to his son
Christopher, who compiled this play and who is portrayed onstage by
Waring, he would quarrel even with being described as contentious.) On
standing up to the House Un-American Activities Committee in 1947, he
became one of the “Hollywood Ten”, the first to be blacklisted by the
studios. The family moved to Mexico for several years, Trumbo
continuing to write screenplays which were submitted pseudonymously.
One of the play’s most poignant sections is a letter written to the
mother of one of his screenwriting “fronts” who had died in the
interim; one of its most triumphant is the report that the 1956 Best
Story Oscar was won by someone who did not exist, for Trumbo’s
screenplay of
The Brave One.
Director John Dove cannily stages the piece as a recitation/reading.
While Redgrave delivers Trumbo’s words from the centre of a stage
stacked with box files and backed by a huge montage of images from
various Trumbo-scripted movies, Waring stands off to one side,
following the script, sometimes moving his lips slightly as if reading
the same words to himself. The play is co-produced by Corin and Vanessa
Redgrave’s company Moving Theatre, many of whose productions have been
tributes to radical figures from history. (I particularly remember
Corin Redgrave’s own performance as Sir Roger Casement in 1995.) This
production, though, is in practice as much a celebration and welcome
back to its principal performer as it is a commemoration of its
ostensible subject.
Written for the Financial
Times.