Park Theatre, 26th April 2018
I had high hopes for Pressure. I have said before that the Park Theatre has a knack of mounting a wide array of productions, which, on paper at least, sound interesting, though execution can be variable. If I am honest Pressure, initially, wasn’t one of them. But the reviews from previous performances in Edinburgh and Chichester and the presence as writer, and performer, of David Haig, and the Park’s always jolly atmosphere, reeled me in. When it transpired that the production was transferring to the West End, (the Ambassador’s Theatre from, in a nod to its content, the 6th June), I confess to feeling inwardly smug that I had got in early, along with the full houses which the Park has secured.
Talking of smug, and I mean this in the nicest possible way, there is a faint air of the self-satisfied about Mr Haig’s performances. Most recently I have seen him play the arrogant, borderline racist Dr Robert Smith in the Young Vic’s revival of Joe Penhall’s marvellous play Blue/Orange alongside some blokes called Daniel Kaluuya and Luke Norris who you might know. Let us hope Mr Penhall’s latest offering, Mood Music, at the Old Vic matches this. He also played the enigmatic Player in the said Old Vic’s recent Rosencrantz and Guildenstern Are Dead. In both cases, and in some of his telly roles, he nails down the patronising pomposity of a certain type of middle-aged Brit expert, whilst revealing any vulnerability or desperation that might lie behind the surface.
I am sure that, outside work, he could not be more different, though his writing, the text of Pressure is intimidatingly exact in terms of directions, suggests otherwise. Regardless, what I can say is that when he gets his teeth into a character there are few more stirring sights than Mr Haig in full flow. So if I tell you that he has written a dramatic account of the real life contribution of meteorologist, Group Captain James Stagg, to the D Day invasion on June 6th 1944, it will likely not come as too much of a surprise. GC Stagg, on this account, was a dour, uncompromising Scot, who staked his reputation on convincing the Supreme Allied Commander General Eisenhower, here played by Malcolm Sinclair, to first hold off, and then go ahead with the invasion plans, despite apparently overwhelming evidence to the contrary and the opinion of his breezy American counterpart Colonel Irving P Krick (Philip Cairns).
It would have made a gripping black and white film in the 1950s or even a one off TV drama today. And that, in part, is something of its problem. It is a powerful story, but, once the die is cast, it is theatrically predictable and Mr Haig presents it that way. The pressure on GC Stagg is, compounded by his wife’s troubled pregnancy. The isobars on the charts measure pressure. We see the pressure mount on Eisenhower as he makes his fateful decisions. There are no real surprises in what the characters do or say and there are times when they verge on cliche.
On the other hand Mr Haig has wisely introduced a major female role in the form of Kay Summersby, the aide-de-camp to Eisenhower. She is played with clip-vowelled exactitude by Laura Rodgers, who I admired in Rules for Living at the Rose Kingston and Winter Solstice at the Orange Tree, (a play that continues to linger long in the mind). Malcolm Sinclair as Eisenhower is also impressive though I have no idea what the man himself was like, and the rest of the cast lend solid support. Director John Dove has collaborated with Mr Haig before on his most famous play (and film) My Boy Jack, based on the relationship between Rudyard Kipling and his son, so doesn’t mess about with Mr Haig’s story.
I appreciate that I am sounding a bit sniffy about Pressure. I don’t mean to be. It is, in its own conventional way, very effective and David Haig turns in an exemplary performance. If this sounds like your sort of thing then don’t hesitate to get down to the Ambassador’s.