For some categories of awards and
listings, this is a “new play”: although Ibsen finished writing it in
1873, this is its English-language première… perhaps unsurprisingly
since, as well as being called by the author his most important play,
it is also his longest. Like
Peer Gynt,
it was written to be read rather than staged, and Ben Power cuts its
2x5-act structure down to four long acts which tell the story of the
4th century AD Roman emperor Julian the Apostate. We see Julian suffer
a growing crisis of Christian faith and finally, under the tutelage of
the mystic Maximus, renouncing the official imperial religion and
returning to worship of the Greco-Roman gods, principally Helios the
sun god. On his succession to the throne he proclaims freedom of
worship but increasingly persecutes Christians, finding their worship
of the Galilean a personal affront, before dying in a war against the
Persians after which the empire returns to Christianity.
In some ways, much of the play resembles
Peer Gynt
without the levity, and perhaps with a Bible instead of an onion as the
central symbol: in epic (though less episodic) form, it follows one
man’s search for metaphysical truth and identity across a global
canvas, to the conclusion that there can be no ideal synthesis nor
defined ultimate destination except the grave. Jonathan Kent’s visually
striking staging gives the Olivier’s segmented stage revolve a workout
such as it has not seen since
His Dark Materials,
and Andrew Scott gives his full commitment to the central role of
Julian: he rages and whimpers, snarks and gasps, with maximum emotional
range. However, this is not enough to make the evening compelling. The
inevitable resonances of a modern-dress portrayal of a military march
on Babylon in fact resonate far less than expected. And he is no doubt
heartily sick of the comparisons, but I defy anyone to hear Ian
McDiarmid as Maximus coaxing, "Give in! Surrender to the other world!"
and not imagine the emperor Palpatine in
Star Wars
declaring, "Your feeble skills are no match for the power of the Dark
Side!" Perhaps it repays greater patience, though I am afraid I doubt
it. I am glad to have seen this play, but rather less glad to have
spent three and a half hours seeing it.
Written for the Financial
Times.