By: Terence Rattigan and Nicholas Wright
Directed by: Philip Franks
Venue: Chichester Festival Theatre
Date: Wednesday 20th July 2011
We attended a pre-show talk with the co-author of this piece, Nicholas Wright, which was very interesting. I often find, though, that when I haven’t seen the play, I either learn so much about the production that it spoils my enjoyment, or I don’t fully appreciate the information as I have nothing to relate it to. This one was probably the latter.
The play itself weaves together parts of a screenplay that Rattigan wrote towards the end of his life about the love affair between Nijinsky and Diaghilev – his first overt piece about homosexuality – and a framing piece by Nicholas Wright about the decision Rattigan made to withdraw the screenplay from production due to the threat of being publicly outed by Nijinsky’s widow, Romola. The action of the screenplay appears to Rattigan in his hotel room due to artistic licence and the hallucinogenic effects of a morphine concoction he was taking to dull his pain. (From the pre-show, this potion was introduced to represent Rattigan’s self-medication with the drug when he was in hospital.)
The interlacing of the two plots was well done, and allowed for some fun moments, with Rattigan the only one who could see both ‘realities’. It also allowed him to discuss the screenplay story with Diaghilev directly, and while this was a good way to tie the two stories together, I felt it made the play into too much of drama-doc. Even if Rattigan was writing more openly about a homosexual love affair, he would have done it by showing us the characters, theirs actions and words. Less repressed than usual, perhaps, but still a direct expression rather than via a narrator. This method over-simplified the Diaghilev/Nijinsky story too much for me, and I found it a bit dull as a result. Not the fault of the performers, of course, who all did a great job, often in numerous parts.
My other difficulty with the play was that ballet doesn’t really interest me as an art form, and while I’ve seen a few, and will occasionally watch documentaries on the subject, the characters just didn’t engage me as much as I would have liked. I did find the second half more interesting, as I didn’t know so much of the history after The Rites Of Spring, and I would be happy to watch the program if the screenplay was actually filmed, but overall that part didn’t impress me as Rattigan’s best work.
The framing sections worked quite well, showing us both Romola Nijinksy in her later years and Rattigan’s mother, chatting with him several years after her death – what was in that bottle? – along with Cedric Messina, the producer who wants to film the screenplay. There are a lot of parallels drawn between the two stories. Nijinsky is doubled with a young hotel porter called Donald, who clearly fancies Rattigan and ends up sharing a couch with him. Jonathan Hyde plays both Diaghilev and Cedric Messina, showing us their contrasting production styles. It’s artfully done, but didn’t give me any extra insights to the situation or characters.
What makes the production watchable are the performances, all of which are very good. Faye Castelow is particularly beguiling as the young Romola who sets out to ensnare Nijinsky, and succeeds with the help of a third party. Jonathan Hyde is also excellent as Diaghilev, and I loved Susan Tracy’s cameo as Rattigan’s mother. Malcolm Sinclair is fine as Rattigan himself, and the ensemble support is strong throughout, despite the shortage of lines for many of the small parts. I enjoyed the dancing, even though Petrouchka’s never been my favourite, and the music was very classy, of course. I’m not sure this piece does justice to the screenplay that Rattigan wrote, but it’s an interesting experiment in itself, and for all the polish of this early performance (only the second preview) it may well improve with time.
© 2011 Sheila Evans at ilovetheatre.me