A superlative, shattering piece of theatre
What a masterpiece in acting is this play, whose time-span is the nine-month gestation period that saw the writing of Benjamin Britten’s opera ‘Gloriana’ for the Queen’s coronation year, a commission that was something of a tall order in such a short space of time, and which threw ‘Ben’ (Samuel Barnett) into a turmoil of nervous energy, burdened by the pressure of expectation after the roaring success of ‘Peter Grimes’, writes Eleanor Thorn.
Into that unproductive ‘stuckness’ arrives ‘Imo’, daughter of Gustav Holst, Imogen (Victoria Yeates), who ditched a good Dartington job when invited to assist Ben through this irresistible period of composition, despite nothing being clear on her precise role or remuneration.
Close to her late father ‘Gussie’, with an intimate insight into his life, she comes equipped with a heightened level of understanding of what a music-creating genius goes through, and that knowledge carries her through these first few months to form a partnership and friendship that will endure.
The winning smiles, the cheekiness, the fervour of her independent spirit and passion for music mean Imo is undeterred by such remarks as “I didn’t want anyone at all”. She is here to give life to music and deftly navigates his mood swings and eccentricities, at times flattering and bolstering his ego, at others firmly ticking him off or managing his expectations (the “gala will be a giant flop”). She sparks inspiration with Elizabethan scores and galliard and morris dances and the rum and Drambuie keep flowing. Whilst she embraces the creative process with exuberance, for him it is “this continual, dull ache”. The two dance metaphorically and literally. The fear lessens, and finally a score pours out, but not before Ben’s warning: like too many, she will run away, after falling in love, then need to be driven away.
The real crux: between this homosexual man and this self-declared spinster there is a tension, be it sexual or not. Is she in love? Will she stay the course? Will he drive her away?
Humour runs throughout: Imo and Ben do not mince their words and the audience’s laughter provides a pleasant backdrop, accompanying the visual manuscripts projected onto the gallery walls above. A ballet is a thing of derision, royals “are phoney and stupid and kitsch”. One genuinely sombre and, alas, visionary reflection, is a divergence from the banter when Ben recalls a play for ex-concentration camp prisoners: “Any second it could turn and the darkness could be back.” Similarly current are the frequent references to funding of the Arts.
Yeates is the star of the show, revealing talent in dance and song, bringing to life a beguiling character passionate about music for all, in her brilliant but self-deprecating fashion. That is, until the second half when Barnett pulls out all the stops, delivering the most barbed, damning diatribe of enormous cruelty. But forgiveness and music reign. A superlative, shattering piece of theatre that makes this play, excellently directed by Erica Whyman and written by Mark Ravenhill, one unequivocally not to miss.
The Orange Tree Theatre offers a spectacle ‘in the round’ with rotating central piece – the piano, providing with every scene change subtly changing angles of the leaky studio at Ben and tenor Peter Pears’ house in Aldeburgh.
Orange Tree Theatre, 1 Clarence Street, Richmond, TW9 2SA until 17th May. Monday – Saturday 7.30pm; Thursday and Saturday 2.30pm.
Booking and full details: Box Office: 020 8940 3633 (Mon-Sat, 10am-6pm)
