Like me, you probably see more acting on TV than in the theatre. That means I’m always interested to see whether a favourite actor can make that transition from screen to stage.  The Little Foxes at the Young Vic was packed with faces from British television. Mark Bonnar who you will have seen in Shetland and Guilt; Steffan Rhodri best known as Dave Coaches from Gavin & Stacey; Anna Madeley who is Mrs Hall in All Creatures Great And Small; and one certifiable star in Anne-Marie Duff most recently seen in Bad Sisters.

Lillian Hellman’s The Little Foxes was premiered in 1939 but this attack on capitalism focuses on a family of landowners from the American South around 1900. So, the first question you might ask is, why did Lillian Hellman, who was a communist by the way, set her play around 40 years in the past? I’m guessing it’s because 1939 was not the best time for an anti-capitalist message. America had just experienced successful state intervention in their free market system in the form of Roosevelt’s New Deal, so a mixed economy may have seemed more attractive than a communist one. More than that, communists, capitalists, rich and poor were in the process of uniting in a fight against fascism, or at least that was the perception. So it might have been easier to show unadulterated capitalism, raw in tooth and claw as it were, from a couple of generations earlier.

The first half introduces us to the Hubbard family. There are two brothers- Ben played by Mark Bonnar, cunning as a fox and arrogant as a peacock, initially strutting about the stage, nonchalantly shrugging off challenges. Ben boasts of the way his family, who were traders, took advantage of the Civil War to buy up property while the Southern grandees were being defeated, fighting for their principles. He is even proud of their exploitation of what he calls ‘coloured people’.

The other brother Oscar, a weak bully, is played by Steffan Rhodri with a rat-like blend of slyness and nerves. The lead character is their sister Regina played by Anne-Marie Duff. Her bravura performance dominates the evening, entrancing us with her hyperactive character, who is by turn charming, quivering with frustration or displaying a diamond hard will power that is genuinely chilling. Her sparkling eyes and wide smile are a mask that covers her amorality.

The brothers inherited their father’s money. When they have an investment opportunity that will make them a huge fortune, Regina is shocked and angry to find she has been left out of the spoils. She plots to get both her share and revenge, by using her ailing husband’s money to make up the additional investment her brothers need.

After a slow first half that establishes the characters and their situation, the play takes off like a Space X rocket, as these greedy siblings ruthlessly trick and use one another.  Regina becomes more ruthless than any of them in her ambition.

It’s a savage expose of people whose greed trounces love, loyalty and all other moral values. But, is it relevant today? I guess the answer to that partly depends on your politics, but the fact is, capitalism remains the dominant system, despite regulation and the welfare state. Add to which, we appear to be entering an era of less regulation, in America at least, and we have seen the privatisation of public services in the UK. So I suppose it is a good time to be reminded that however high the quality of service or product we receive from companies, their number one priority is profit, not people. 

The play presents some alternatives. Oscar’s wife Birdie is from an aristocratic family. She represents the ‘old values’ based on patronage, duty and responsibility. She is an alcoholic, bullied by her husband, and ghosted into a lack of confidence. She may be brittle- she laughs nervously, she looks down, there’s fear in her eyes- but still expresses her beliefs. It’s a powerful performance from Anna Madeley, showing Birdie beaten down but still proud. The quality and depth of her acting won’t surprise you if you’ve seen her as Mrs Hall, giving much-needed weight to the cosiness of All Creatures Great and Small.

Regina’s husband and daughter show that behaving morally is an option. They are played by John Light and Eleanor Worthington-Cox, the latter subtly showing how her character grows in strength as events force her to choose between standing up for her beliefs or standing by watching. In fact, the play’s strongest message is that most of us stand by watching bad things happening and do nothing about it. In stark contrast, Oscar’s son, played by Stanley Morgan, is morally bankrupt, like his father.

The black servants show two different sides of the class that has been most exploited and abused by this family. Freddie McBruce as Cal goes about his job without question, but Andrea Davy’s Addie is firm in her opinions and tenderly loyal to those who treat her well.

Quite a few reviewers criticised the design, suggesting that its mid 20th century look was not appropriate, and even confusing, when used in a play set in 1900. On the contrary, I think Lizzie Clachan’s design is a stroke of genius. First and foremost, it doesn’t distract. A turn of the century design could have made the story seem of a bygone age, irrelevant to today. On the other hand, modern day clothes would have been too anachronistic for a play that’s set over a hundred years ago and mentions horses and carriages.

Instead, Ms Clachan cleverly plumps for the neutrality of clothes of the time it was written. The dominant beige reinforces this.  The absence of the trappings of the life of the well-off suggests these are people who want wealth for its own sake. They aren’t even that interested in enjoying the luxuries that come with it.

It’s a damning picture of capitalism but I think it’s unfair to suggest, as some critics did, that it fails because the main character doesn’t evoke enough sympathy. I found that I had plenty of sympathy with her over the way she was treated and therefore cheered her on as she exacted revenge. But that sympathy only heightened the shock of seeing just how far she would go and what sacrifices she would make. Yes, she does become a monster but it seems possibly sexist to me to suggest that this portrait of a greedy capitalist woman can only can only be of interest if we have sympathy for her. I don’t think you have to sympathise with the murdering Macbeth to get involved in his character and story, or with the greedy Lehman Brothers to find them fascinating. I didn’t like Regina as a human being but it was gripping to see how far she would go and whether she would finally realise there is more to life than money.

Director Lindsey Turner delivers a powerful interpretation and the excellent cast squeeze every ounce of drama out of it. Before the interval I was wondering whether it was ever going to take off but when it did it was riveting. And if you love watching great acting, this is one not to miss.

The Little Foxes is at the Young Vic until 8 February 2025. Buy tickets direct from the theatre

Paul paid for his ticket