The Upcoming
  • Cinema & Tv
    • Movie reviews
    • Film festivals
      • Berlin
      • Tribeca
      • Sundance London
      • Cannes
      • Locarno
      • Venice
      • London
      • Toronto
    • Show reviews
  • Music
    • Live music
  • Food & Drinks
    • News & Features
    • Restaurant & bar reviews
    • Interviews & Recipes
  • Theatre
  • Art
  • Travel & Lifestyle
  • Literature
  • Fashion & Beauty
    • Accessories
    • Beauty
    • News & Features
    • Shopping & Trends
    • Tips & How-tos
    • Fashion weeks
      • London Fashion Week
      • London Fashion Week Men’s
      • New York Fashion Week
      • Milan Fashion Week
      • Paris Fashion Week
      • Haute Couture
  • Join us
    • Editorial unit
    • Our writers
    • Join the team
    • Join the mailing list
    • Support us
    • Contact us
  • Competitions
  • Facebook

  • Twitter

  • Instagram

  • YouTube

  • RSS

CultureTheatre

The Forest at Hampstead Theatre

The Forest at Hampstead Theatre | Theatre review
17 February 2022
Jonathan Marshall
Avatar
Jonathan Marshall
17 February 2022

With stage hits such as The Height of the Storm, The Son and The Father (which was adapted into an Oscar-winning film starring Anthony Hopkins), Florian Zeller continues to be hot property. The writer now takes audiences into The Forest – his latest offering that makes its world premiere at Hampstead Theatre. The play is expertly translated by long-time collaborator Christopher Hampton. 

Pierre (Toby Stephens) has a doting wife and family, friends, an esteemed career and a woman on the side. It is this affair that triggers a breakdown, as the guilt-ridden surgeon is forced to confront the consequences of his dishonesty. Paul McGann also portrays Pierre, albeit a more distant version. This prompts the question of whether he is simply another aspect of our protagonist’s personality – an alter-ego acting out his desires and fantasies, perhaps. Part psychological thriller, part fantasy drama, in typical Zeller fashion, nothing is quite as it seems. 

Anna Fleischle’s set is divided into three – the family home, a room with a bed and an office. Initially detached to represent the protagonist’s idea of conveniently categorising each aspect of his life, the three compartments connect in the climax as he and his world become undone. 

One never quite knows where to look, constantly surprised by various tweaks and additions, such as an ever-growing array of flowers swathing the family home. Seamless scene transitions, aided by Hugh Vanstone’s lighting and Isobel Waller-Bridge’s sound design, contribute to the tense, foreboding atmosphere that permeates throughout. Is it style over substance? No. But there is less to excavate here than in other works by the playwright. 

Zeller often carves out multifaceted female characters, as evidenced in The Mother, for instance. It is therefore somewhat surprising that the women here are thinly drawn. Millie Brady as the daughter is permitted little time on stage; by venting her upset about her cheating partner to her father, his journey begins but it leaves the daughter feeling like little more than a plot device. 

An underused Gina McKee more than delivers as the wife, offering a nuanced, natural performance that again leaves viewers wanting more. Angel Coulby, as the girlfriend, is given the most to do and clearly has fun with the role, as she flirts with bunny-boiler tendencies while at the same time commanding empathy, despite being the “other woman”. But the spotlight is cast on Pierre, with both Stephens and McGann mining the most from their material – although, arguably, the latter’s intriguing incarnation could have been gifted further exploration. 

Those familiar with Zeller will know how he likes to play with timeframes and trickery, leading his audience one way before sharply taking them another. The structure here consists of repeated scenes, with only subtle differences. It allows the audience to look closer, investigating who the protagonist is, although, on occasion, our attention slightly wanes. The promise of a fulfilling climax carries us through, but unfortunately it never quite arrives. Yes, the ending is powerful and well executed, but the audience doesn’t depart the theatre enveloped in the awe and exhilaration they have become accustomed to with this writer.  

It may not be Zeller’s most memorable effort, however, under Jonathan Kent’s direction, the cast and creatives elevate proceedings enough to make this an enjoyable and largely engaging evening of escapism. 

★★★★★

Jonathan Marshall
Photo: The Other Richard

The Forest is at Hampstead Theatre from 9th February until 12th March 2022. For further information or to book visit the theatre’s website here.

Watch a trailer for the production here:

Related Itemsflorian zellerjonathan kentlive theatremidlife crisisreview

More in Theatre

The Father and the Assassin at the National Theatre

★★★★★
Natallia Pearmain
Read More

Dirty Dancing the Movie in concert at Apollo Theatre

★★★★★
Jim Compton-Hall
Read More

My Fair Lady at the London Coliseum

★★★★★
Michael Higgs
Read More

“When you’re presented with different dilemmas in life, you respond accordingly”: Debbie Kurup on The Cher Show

Mae Trumata
Read More

2:22 A Ghost Story at Criterion Theatre

★★★★★
Michael Higgs
Read More

The House of Shades at Almeida Theatre

★★★★★
Csilla Tornallyay
Read More

Grease at Dominion Theatre

★★★★★
Cristiana Ferrauti
Read More

House of Ife at Bush Theatre

★★★★★
Selina Begum
Read More

Banter Jar at Lion & Unicorn Theatre: “An authentic and timely one-woman show”

★★★★★
Jessica Wall
Read More
Scroll for more
Tap

Theatre review

Jonathan Marshall

The Forest

★★★★★

Dates

9th February - 12th March 2022

Price

£10-£37

Links & directions

TwitterInstagramFacebookWebsiteMap

  • Popular

  • Latest

  • TOP PICKS

  • My Fair Lady at the London Coliseum
    ★★★★★
    Theatre
  • The Father and the Assassin at the National Theatre
    ★★★★★
    Theatre
  • More than Ever (Plus que Jamais)
    ★★★★★
    Cannes
  • Plan 75
    ★★★★★
    Cannes
  • Warpaint at the Roundhouse
    ★★★★★
    Live music
  • Tori and Lokita
    ★★★★★
    Cannes
  • Moonage Daydream
    ★★★★★
    Cannes
  • Stephen Fry enters the Radio Times Hall of Fame in conversation with Alan Yentob at the BFI Imax
    Cinema & Tv
  • Layering masters: How to make authentically delicious lasagne
    Food & Drinks
  • The Five Devils (Les Cinq Diables)
    ★★★★★
    Cannes
  • Moonage Daydream
    ★★★★★
    Cannes
  • Crimes of the Future
    ★★★★★
    Cannes
  • Decision to Leave (Heojil Kyolshim)
    ★★★★★
    Cannes
  • Boy from Heaven (Walad Min Al Janna)
    ★★★★★
    Cannes
  • The Princess of Shoreditch in Shoreditch: “Ruth Hansom will only cook with the freshest and finest”
    Food & Drinks
The Upcoming
Pages
  • Contact us
  • Join mailing list
  • Join us
  • Our London food map
  • Our writers
  • Support us
  • What, when, why
With the support from:
International driving license

Copyright © 2011-2020 FL Media

“It’s more a story of working-class struggle than anything else”: Kempton Bunton’s grandson Christopher Bunton on The Duke
Kehinde Wiley: The Prelude at the National Gallery | Exhibition review