Rosenbaum’s Rescue at the Park Theatre review ***

Rosenbaum’s Rescue

Park Theatre 200, 29th January 2018

Not quite sure why this didn’t entirely work for me. Alexander Bodin Sophir takes an intriguing story, the escape of 7500 Jews by boat from Copenhagen to Sweden in 1943 just before the Nazis were about to round them up, and puts it into the mouths of a Swedish historian, his German daughter, his Danish-Jewish friend and the latter’s wife as they are holed up at the couple’s house following a power cut. Mr ABS, in this his first play, has the passion to tell the story, his own grandparents escaped this way, and he has put the hours in research-wise, unsurprising given his day-job as documentary maker. He also contrives a punchy, if slightly overwrought, twist to proceedings at the end.

Actually I think I do know why. In the effort to cover all the contended reasons as to how and why these events happened, and to elide this with dramatic personal disclosures, ABS perhaps asks his text and dialogue to do just a bit too much heavy lifting and makes his characters just a bit too predictable.

It is Hanukkah, 2001 in the Scandi chic interior (courtesy of designer William Fricker) of the house of Abraham (David Bamber) and Sara (Julia Swift). They are preparing for a visit from Lars (Neil McCaul) and Eva (Dorothea Myer-Bennett). Lars is researching the events surrounding the evacuation. Abraham, as an observant Jew, is convinced that it was the result of the heroic resistance of the Danish people, and divine intercession, whilst Lars, an atheist, is convinced there was collusion between the Danish government, which had avoided the excesses of occupation elsewhere in Europe through flexible accommodation, and certain sympathetic Nazi higher-ups. Personal recollection, both men where 8 in 1943 plays a part as their friendship arose from a family connection formed at the time. Memories prove somewhat flawed and events open to interpretation especially when a few McGuffinish momentos are chucked in.

Cue snowstorm to ensure the debate rages and then lay on top some past history between the calm Sara and Lars and the fact that Eva, a novelist, sees her identity stemming largely from her German mother, now divorced from Lars. It isn’t tricky to guess the outcomes but all this intrigue does detract from the historical interrogation, and vice versa. ABS’s dialogue smartly, and comically, undercuts some of the more hyperbolic exchanges, notably from Sara and Eva (I am very keen on Dorothea Myer-Bennett’s no nonsense acting talent – here she did a lot with very little). The versatile David Bamber is always a joy to watch whatever he is doing (last seen by me as Noel in Julia Davies’s gloriously smutty Camping – and indelible memory) and the is no exception. Neil McCaul, as the “truth is everything” academic is maybe asked to turn up the apoplectic dial once too often but this does serve an obvious purpose.

The competing narratives of what actually happened are well articulated in Kate Fahy’s production, but she could maybe have cranked the pace up. The parallels with present day Denmark, and by implication the rest of Europe, get a little lost and the science vs religion arguments are a bit heavy handed. I came out actually wishing ABS hand found a way to simply focus on the arguments about what actually happened, and therefore the “truth of history”, in a much shorter double-hander, and reversed the passive-aggressive relationship of Abraham and Lars. Alternatively the personal drama could have proved the catalyst from which the historical argument obliquely emerged.

Still learned a lot. That’s enough.

Pinter at Pinter 5 review ***

Pinter at Pinter Five: The Room/Victoria Station/Family Voices

Harold Pinter Theatre, 26th January 2019

The weakest of the Pinter at Pinter season IMHO though still well worth seeing. Not the fault of the cast with Rupert Graves in particular on top form. Maybe the plays; The Room is Pinter’s first ever play, from 1957 written for Bristol University students whilst Family Voices was written for the radio in 1981. Then again this hasn’t been a stumbling block in earlier instalments. The Room bears all the hallmarks of later Pinter and a setting familiar from the next, truly great, work, The Birthday Party, and the creative team have found a convincing way to transfer the imaginings of the lonely, young man holed up in a boarding house in Family Voices on to the stage.

The themes? As in the rest of the season Jamie Lloyd and his guest directors have intelligently drawn out links between the works in each instalment which have illuminated HP’s wider concerns: language, meaning, memory, (mis-)communication, anxiety, class, the state, power and control. The dislocation between what we think and what we do. There is often something “out there”, from past or present, beyond the claustrophobic confines of the setting, which might intrude in some way. The two main plays here share a similar marginal, transitory location, and a whiff of Proustian recollection, and contrast the present, minatory situation with some other “safer” time and place. (There must be some auteur somewhere who has the reputation and cojones to bring The Proust Screenplay to cinematic life).

In The Room, Jane Horrocks plays Rose Hudd, babbling nervously, mostly about how “warm” the room is compared to the “cold” outside, to her taciturn “husband” Bert (Rupert Graves) in their one room bedsit in a boarding house. We never quite know why she is so tense, ever after the jagged conversation she has with equally garrulous landlord Mr Kidd (Nicholas Woodeson) before and after Bert heads off in his “van”. Rose is then interrupted by Mr and Mrs Sands (Luke Thallon and Emma Naomi) who are ostensibly looking for a flat and, specifically, the landlord. They describe a blind, black man, Riley, (Colin McFarlane) they have seen in the basement who then enters to deliver a message from Rose’s “father”. Bert returns, rapidly describes his trip out in a sexually aggressive way, and violently turns on Riley. See what I mean? It couldn’t be written by anyone else right? It took HP just two days to create it and thereby change the course of world theatre and subsequently give employment to countless academics. No longer did a playwright have to “know” where his or her characters came from or where they were going.

In Family Voices Luke Thallon is given the task of impersonating the various characters which inhabit the boarding house in the “letters” he composes in his head to his mother, an on stage Jane Horrocks, who complains that her own letters to him are unanswered. These include a sexually forward young woman and a threatening bloke called, wait for it, Riley. Also present here, from beyond the grave, is the young man’s father, whose death hangs over the mother-son relationship, played by Rupert Graves. No major key ending here though.

Victoria Station played here as more “straight” comedy as Colin McFarlane plays a minicab controller growing ever more exasperated by the gnomic responses of driver “274” Rupert Graves. The driver is plainly marooned, lost both physically and mentally, but his fear is played down in this interpretation.

Interestingly the audience at the matinee the Tourist attended, (a packed house showing just how well received the season has been, albeit with a bit of judicious re-pricing), was most animated in Victoria Station. Unsurprising given the laughs, but the rapt attention that characterised say, Moonlight, Landscape or A Slight Ache didn’t seem to quite be there. The difference I think lies in the direction. Pinter Five was given to Patrick Marber. Mr Marber is an excellent writer, especially his original work, and can be an inspirational director, notably of his own adaptations. But Pinter needs something special to really take off and PM is not quite on a par with Jamie Lloyd IMHO. It’s something to do with pacing and rhythm I think though I have no idea how to put its into words. Mind you PM got the HP seal of approval directly so what do I know.

Still even as probably the least convincing of the season, there was still much to feast upon, (enjoy isn’t really the right way to describe it), and some first class acting from Ms Horrocks and Mr Graves. Can’t wait for Betrayal.