Lyttelton Theatre at the National Theatre
‘After Antigone’ says the publicity material. In fact, you need know nothing about Sophocles’ classic play to enjoy (or not) Alexander Zeldin‘s new play about a grieving family at war with each other. It garnered three 5 star reviews from heavyweight critics but this was balanced somewhat by four less convinced 3 star reviews. The cast which included Tobias Menzies and Emma D’Arcy were praised.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
Sarah Crompton at WhatsOnStage (5★) said, ‘it’s extraordinary how much tension Zeldin and his excellent cast generate.’She commented, ‘The words have a real sense of jeopardy; they seem to spring from deep within, and as events take their course, they feel both inevitable and surprising. As taboos are broken and truths are revealed, they generate gasps of sympathy and shock.’ About the cast, she said, ‘Menzies is towering as Chris…conveying a man on the edge, desperately fighting for control and his sanity. He’s an actor of incredible stillness too; he doesn’t react, he simply seems to feel. But he is matched in intensity by D’Arcy who makes Annie’s desire for justice, for poles to cling to in a frightening world, profoundly moving and empathetic. Their mutual pain becomes our pain, a resounding cry down the centuries, a vindication of theatre’s unique ability to make us feel.’
Gary Naylor for Broadway World (5★) described it as ‘a ferocious whirlpool of a play that sucks you further and further down into a vortex that drowns you in man’s venality.’ He said, ‘Seldom do all the elements that power theatre’s unique capacity to crash over the fourth wall like a tsunami, come together as effectively as they do in this electrifying, unforgettable 80 minutes of squirming mental discomfort.’ He went on to praise ‘ the clean modernsm’ of Rosanna Vize’s set, ‘beautifully lit by James Farncombe’, and Yannis Philippakis’s music (that) also nags like a stomach cramp’. And he praised all the actors, including ‘Tobias Menzies (who) barely seems to act at all, a remarkable and rare gift for an actor. Often shrouded in an overcoat, he can stand still for minutes at a time while we see his frustration curdle to anger, his guilt bleed into self-pity, his arrogance fuel his entitlement.’
Demetrios Matheou on The Arts Desk (5★) said, ‘One of the wonders of the production is that it elicits edge-of-seat drama from a scenario – centred on a family squabble over an urn – that could easily have descended into absurdity. Instead, Zeldin has conjured a novel tragedy that, despite its roots, feels horribly of the here and now.’
Clare Allfree for the Telegraph (4★) delared, ‘this is sucker-punch theatre, beautifully detailed and at times excruciatingly funny.’ The Standard‘s Nick Curtis (4★) called it ‘elegantly acted, powerfully atmospheric but remorselessly fatalistic updating’ with ‘A crack cast’.
Arifa Akbar in The Guardian (4★) described it as ‘a delicately observed portrait of a family imploding with grief and contesting memories…Although lean at 80 minutes, its drama is huge.’ The Stage‘s Dave Fargnoli (4★) noted, ‘Taut, stretching pauses abound when words dry up, and there are sudden moments of heart-in-mouth tension, often defused with satisfyingly savage punchlines.
Helen O’Mahony for LondonTheatre (3★) felt there was ‘not a clear point to this story, except, perhaps, to remind us that difficult people are often the product of difficult pasts. But it’s a play that develops slowly then drops a bombshell; a night at the theatre you won’t forget.’
Time Out‘s Andrzej Lukowski (3★) concluded, ‘It’s a muddled showing from Zeldin the writer. But the elegant, ominous production from Zeldin the director ultimately salvages things, as do extremely committed performances from D’Arcy and Menzies. Their belief in this play very nearly carried me.
Fiona Mountford of the i (3★) was less impressed than most of the others: ‘Too much remains unexplained, too many details omitted, for catharsis to be achieved.’ Although, she did say, ‘(Alison) Oliver once again confirms her status as one of the brightest actors of her generation with a performance of gloriously twitchy watchfulness and unspoken depths of sorrow.’
The Times‘ Clive Davis (3★) also had a disappointing evening: ‘This is one of those National productions where you find yourself admiring individual elements — the set, the acting, the lighting — without being seduced by the play itself.’
Critics’ Average Rating 3.9★
Value rating 57 (Value rating is the Average Critic Rating divided by the typical ticket price)
The Other Place can be seen at the National Theatre until 9 November 2024 Buy tickets direct here
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