The
second of Chichester’s two Rattigan centenary pairings, like the first,
couples one of the man’s own plays with a new work; it is much more
successful, partly because these two shorter plays can be presented as
a double bill in the same evening rather than each demanding the
attention of a main show.
The Browning Version
was a period piece even when Rattigan wrote it, set in what was then
the present day of 1948, but drawing on Rattigan’s own experiences as a
pupil at Harrow 20 years earlier. The spiritual and emotional atrophy
of schoolmaster Andrew Crocker-Harris seem to render him a man out of
time; Nicholas Farrell’s performance is buttoned right up to the chin,
except for the single moment when an unexpected kindness from one of
his pupils on the eve of his retirement reduces “the Crock” to tears.
It is preceded by David Hare’s
South Downs,
which draws similarly on his own time at Lancing College in the early
1960s when it is set. Here the teacher/student relationship is
reversed: Farrell’s housemaster is out of his depth when confronted
with the articulate uncertainty of an outsider amongst the student body.
Crocker-Harris
has been ground down by half a lifetime of disillusionment, not least
in his marriage to a wife who considers love a matter of biology and
finance; young Blakemore in
South Downs
has no idea of his place in the world yet, but rather than naïveté he
is marked out by a fearsome and questing intelligence, and also by
being a lower-middle-class scholarship boy amongst haut-bourgeois
classmates at this Anglo-Catholic public school. Teenager Alex Lawther
makes a tremendous professional début as Blakemore, showing remarkable
control and nuance. Remember the name. His débutant counterpart in
The Browning Version,
Liam Morton, would impress in any other company but cannot match
Lawther. Anna Chancellor gets to have her cake and eat it as, firstly,
the solicitous actress mother of Blakemore’s house prefect, then the
smiling villainess (or at least adulteress) that is Mrs Crocker-Harris.
Unusually for a double bill, each play has its own director: Jeremy Herrin with
South Downs hits the perfect final note of potential hope to lead us after the interval into Angus Jackson’s production of
The Browning Version. As Crocker-Harris observes, “an anticlimax can be surprisingly effective.”
Written for the Financial
Times.