With most front-rank male actors of a
certain age, one finds oneself anticipating their King Lear. (It was
recently announced that Simon Russell Beale is to be the next major
contender in the Lear stakes.) In the case of Ian McDiarmid, however, I
wonder whether he is not more perfectly attuned to Brecht’s
protagonist, as suggested by his performance in Roxana Silbert’s RSC
production. He begins with exceeding animation, as if this Galileo is
literally energised by learning and each new discovery has all the
excitement of a new game. As his observation-based cosmological
theories begin to draw the critical attention of the Catholic Church,
he first clings to his belief that knowledge as an absolute good must
triumph, then after his forced recantation invests every line with a
coruscating cynicism… yet still without giving up his devotion to, as
he would put it, limiting the amount of ignorance in the world..
Brecht bookends his play with instances of infraction, of knowledge
circumventing official channels: Galileo first tries to sell the idea
for the telescope to the Venetian Republic after nicking it from
reports of the optical instrument in Holland, and the play ends with a
manuscript copy of his book
Two New
Sciences being smuggled out of Papal territory for clandestine
publication. Compare the contemporary battle-cry “Information wants to
be free” in opposition to attempted online restrictions, from political
or sexual censorship to draconian enforcement of intellectual property
rights. Brecht was not attacking the Church simply because it
was the Church, but rather because
it represented a major temporal power of the kind which entrenched
orthodoxies protect. As one of those obtrusive Brechtian musical
numbers (staged by Silbert in an equally obtrusive carnival style amid
her modern-dress production) phrases the liberating potential of the
new discoveries, “Better face it: who doesn’t want to be their own
master?”
Mark Ravenhill’s translation uses the indefinite article in the title,
in acknowledgement that no single version can be authoritative and/or
of the numerous rewrites Brecht himself undertook. McDiarmid receives
strong support from, amongst others, Joel Gillman as the “Little Monk”
and Matthew Aubrey as Galileo’s housekeeper’s son, both won over to
join his research team. And in a beautifully detailed piece of set
dressing, in the final scene I could just make out the title of one of
a suitcaseful of books: Friedrich Dürrenmatt’s play
The Physicists, which questions
Galileo’s entire attitude.
Written for the Financial
Times.