The Real Thing at the Old Vic
Originally staged in 1982, Tom Stoppard’s most-revived play makes a return to the Old Vic under the deft direction of Mark Webster. Centring on the extramarital affair turned marriage between playwright Henry (James McArdle) and actress Annie (Bel Powley), the play takes on new meaning in an age where many presumptions have changed. While some aspects of the play have aged, such as the overt use of “colonialism”, which would have been provocative four decades ago but now feels trite, its exploration of authenticity in love and art is timeless.
Throughout the acts, the notion of monogamy as the gold standard of romantic love is questioned, with Henry delivering repeated soliloquies on the subject that are brought to life by McArdle’s compelling mix of obstinacy and vulnerability. As the play progresses, it becomes increasingly clear that Henry’s search for genuine love is, in fact, a deeper longing for tradition, both in matters of the heart and in literature. Similarly, the play’s treatment of classism is particularly poignant today – as Henry only expresses his elitist views on art in private, reflecting the silent, class-based gatekeeping that still pervades the literary sphere in an age when democratisation is supposedly championed.
Just like the relationships, the backdrops shift before the audience’s eyes with a meta-theatrical approach fitting for the play-within-a-play. The stage arrangements, especially those of the living rooms, are fittingly salient, as these spaces play host to the production’s most defining scenes. Each lounge is modern and tastefully minimalist, featuring sleek couches, immaculate rugs and freshly cut flowers, and every intense, emotionally-charged moment – from Roger pleading on his knees for Annie not to leave him to Henry’s painful revelation of Annie’s infidelity – sharply contrasts with the sterile, restrained surroundings.
Meticulously designed by Peter Mackintosh, the stylish sets reflect the ubiquity of classism in home interiors even as opulent status symbols give way to contemporary sensibilities, and highlight the characters’ efforts to project an image of order, control and dignity in their lives and relationships. The girlish, yellow floral dress worn by Annie in her first appearance serves as a visual counterpoint to the polished den shared by Henry and his ex-wife, Charlotte (Susan Wokoma) – the youthful, vibrant pattern of the garment accentuating Annie’s struggle between her fresh-faced idealism and the complexities of adult relationships. The deliberate, almost photographic arrangement of their personal spaces highlights the tension between appearance and reality, reflecting the play’s broader commentary on the artifice in their relationships and creative output.
Christina Yang
Photos: Manuel Harlan
The Real Thing is at the Old Vic from 22nd August until 26th October 2024. For further information or to book visit the theatre’s website here.
Watch the trailer for The Real Thing at the Old Vic here:
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