Theatre review: The Truth

Stephen Mangan dominates light comedy

Apollo Theatre, Shaftesbury Avenue

⭑⭑⭑

Stephen Mangan & Janie Dee in The Truth. Photo: Johan Persson

What can I say about The Truth? No, I mean, literally, what can I say about this comedy by Florian Zeller without it being a spoiler. I can describe the first scene to you. After that, twist follows revelation follows surprise, so much so that to say anything may be to say too much. What I can tell you is that the four actors are fabulous and funny.

So, in the first scene, we find Michel played by Stephen Mangan in bed with Alice, played by Sarah Hadland. They are having an affair. It turns out Alice’s spouse Paul is Michel’s best friend, and her lover seems more guilty about betraying her husband than his wife. In fact, he seems to think it quite normal to be commit adultery.

Six more scenes follow in which Michel meets each of the other three one at a time. In these amusing confrontations, truth sometimes seems like a lie, sometimes is a lie, and sometimes what seems like a lie turns out to be true. The second scene sets the pattern. Michel is with his wife Laurence, played by Janie Dee, who seems suspicious about what he might be up to. He gets more and more tied up in his casual lies, and stutters his way into further deceits. Even after an hour and a half without interval, some questions of what is true and what is a deception are left hanging deliciously for us to chew on as we leave.

Zeller’s companion piece The Lie, that followed The Truth a few years later and featured what appear to be the same characters, explores the notion that deception makes the world go round and truth brings it to a halt. But that’s a more serious play. This is out-and-out comedy, written before Zeller got into ‘reverse theatre’ in a big way, causing us to question truth and reality by showing us scenes from various subjective perspectives, something that reached the height of confusion in his latest play on the subject of adultery The Forest.

Without the later plays’ theatrical trickery, the thin plot is exposed. While the many twists are funny, the play relies on its lead actor to do the heavy lifting as far as the laughs are concerned. Fortunately, in Stephen Mangan, the production has a player made for the part. Unfortunately, and not his fault, his blustering becomes repetitious, and there is no character development to offset the monotony. – no sense of a lesson learned or an issue resolved.

The fun is in what the characters say and don’t say, and how they react to what they’re told. And in an extension of that, how we as an audience react knowing what we think we know, and then finding out we didn’t know after all.

Perfect casting

Ardal O’Hanlan & Stephen Mangan in The Truth. Photo: Johan Persson

The casting is perfect. Stephen Mangan is like a naughty child, crashing into situations his own constructions like a toddler learning to walk, shouting as way of defending himself, and even at one point sitting sulkily in the corner with a big bottom lip. He not only doesn’t listen to others, he doesn’t listen to himself, being so self-centred that he cannot see the hypocrisy of being outraged by the betrayal of his friend deliberately losing at tennis, but oblivious to the upset caused by the revelation of his betrayal of wife and friend. Janie Dee’s facial expressions are quite brilliant: a slight widening of her eyes becomes as revelatory as a whole speech. Ardal O’Hanlan as Paul quietly hides behind his neat beard, displaying a tight smile and a penetrating look that could be concealing either a secret or a feeling. Even Sarah Hadland‘s emotive Alice appears to have something up the sleeve she seems to wear her heart on.

In Lizzie Clachan‘s set design, hotels, a changing room, and sitting rooms all look similarly anodyne- there is even a joke about hotel rooms looking the same- suggesting an emptiness to these characters’ lives.

There is a familiarity about the creative team. This is an excellent translation by Christopher Hampton, who has brought seven of Zeller’s plays to English speaking audiences, including most famously The Father. Director Lindsay Posner has previously directed The Truth and The Lie at The Menier, and we should probably be thankful that he moves the production with such a pace that we have no time to dwell on the some of the more unlikely or more repetitive elements of the plot.

The Truth is a straightforward play compared with Zeller’s other hits, although you can argue that it m akes some profound points about the importance of deception to human society. It may also have become more relevant in an age of media and of leaders who give equal weight to lies and truth.

I think I’ve said enough.

The Truth can be seen as the Apollo Theatre in Shaftesbury Avenue, London, until 12 September 2026. Buy tickets directly from www.thetruthplay.com

Paul paid for his ticket.

Watch this review on the YouTube channel Theatre Reviews With Paul Seven

Read a roundup of other theatre critics’ reviews of The Truth (with ratings ranging from 2 to 5 stars) here

February 18, 2022May 4, 2023

Florian Zeller’s The Forest – review

Toby Stephens and Paul McGann share the honours as a man on the edge

★★★

Production photo of Toby Stephens and Gina McKee in Florian Zeller's The Forest at Hampstead Theatre in London 2022 — Toby Stephens and Gina McKee in The Forest. Photo: The Other Richard

French playwright Florian Zeller’s work has become familiar to British audiences thanks to plays like The Truth, The Lie, The Height Of The Storm and the trilogy of The Mother, The Father and The Son. His new play The Forest is the first to receive its world premiere in the UK, and comes on the back of the award-winning film of The Father with Anthony Hopkins.

So you probably know Florian Zeller’s approach to playwriting. It started as an innovative way of getting inside people’s minds. In The Father, it was a brain confused by dementia, in The Mother, a mid life crisis, in The Son a depressed teenager. He achieves this by having the characters act out their lies, self deception, false memories, fears and desires, often repeating scenes with variations of dialogue or even characters, and none of it is necessarily in a linear narrative. So it’s both exhilarating and exhausting. Throughout his plays, we are asking ourselves What is the truth? What actually happened? For which there may or may not be an answer.

As time has gone on, what was surprising and original has become a signature style. It may even be in danger of becoming a cliché- but not yet! Once again, Zeller brings alive a potentially mundane story.

In The Forest, the subject is a married hospital consultant who has been having an affair with a younger woman. As she demands that he legitimises their relationship, he is overtaken by fear about what that would do to his marriage and career (the two of which are tied together, at least in his head), not to mention guilt at betraying his wife.

From the start, we are in familiar Zeller territory. We are plunged into a confusing jigsaw of scenes in which we see the adulterer’s changing memories, fantasies and fears. The title refers to a story about a prince out hunting, who in pursuit of a stag that ultimately disappears, becomes lost in a forest.

Each of the three acts (there’s no interval by the way) begins with the same or at least a similar scene. The first scene sees Pierre, referred to in the cast of characters as Man 1, and played byToby Stephens, arriving home. His wife is clearly agitated. Their daughter’s long term boyfriend has been having an affair. Pierre talks to the girl about his indiscretion. ‘Don’t worry. Everything’ll work itself out’ he says. Pierre uses a conversation with the daughter to talk about his thoughts about a man having affair. Perhaps his memory is playing tricks because on the second occasion, the daughter isn’t there and he talks directly to his wife. This time he’s talking about their child’s reaction, indicating that he is concerned about his wife’s reaction to his own affair. The third time, the daughter barely gets a mention but the room has filled with flowers.

The no-strings affair is now tied up with his marriage and career

Then there’s scene two. A middle-aged man, referred to as Man 2 and played by Paul McGann, is in bed with a young woman. We’re not in doubt for very long that this is also Pierre. I’m guessing that, in his mind, Pierre has separated his affair from the rest of his life. In other words, he becomes a different person, a kind of alter ego. Before long, we are seeing the same or a similar scene but with Toby Stephens, just as Man 2 is Pierre in the third iteration of the opening scene. This indicates I think that the once no-strings affair is now tied up with this marriage and career.

Toby Stephens is brilliant as Man 1. His ready smile becomes a nervous grin. He leans back which at first seems relaxed but eventually looks like he’s reeling from blows. Paul McGann holds his own as Man2, showing a brittle harshness that soon collapses into panic.

Pierre’s character is complex and rounded. The other characters less so, perhaps because they’re part of his memory and imagination.

The treatment of the Girlfriend in the first bedroom scene is a case in point. When she gets out of bed and you see her partly naked before she puts on a shirt. Perfectly normal in real life of course but these days, you rarely see gratuitous nudity on stage, so we must assume there is a good reason for this. Actually, in the script, she is fully naked for the whole scene. I take it that this underlines that Pierre saw her as no more than someone he has sex with. She’s only given a name later as he starts to take her threat more seriously. Excellent as Angel Coulby’s acting is, there is little personality for her to get her teeth into.

Gina McKee makes the most of her limited role

Despite the limitations of the script, the glorious Gina McKee shows fine acting skill in managing to suggest there’s a lot going on the Wife’s head. Through a combination of strangled speech and sideways glances, she conveys a lack of passion that might have been a reason why Pierre strayed, insecurity, and the possibility that she suspects something.

Anna Fleischle‘s set is in three parts: a living room, a bedroom above the living room, and an office to the side. Each setting is invisible until the lights come up on it. The first two are built with tremendous attention to detail, and this naturalistic setting helps suggest that all that is going on in Pierre’s brain is happening while he continues to live out an everyday life.

The office is the exception. It’s pretty bare and seems to be where Pierre’s conversations with his conscience take place, or possibly interrogations by the police. He is being held in the room by a white faced man in black, chillingly played by Finbar Lynch. He looks like a character from an early horror film and wheedles Pierre with questions as he alternates between a good cop and bad cop style from a police procedural. The biggest question being ‘What happened?’

So what did happen? How did the affair end? What was the fate of the Girlfriend? Well, we can never be quite certain. There are some dramatic and shocking moments which turn this play into almost a thriller as well as a who-dun-it. Director Jonathan Kent is to be congratulated for the pace, and imbuing all that goes on with an almost Hitchcockian suspense, helped by Isobel Waller-Bridge‘s edgy sound design.

By the end, we have been given some explanations (or are they?). The problem for this and other Zeller plays is that the truth, if and when it’s discovered, may not be as interesting or exciting as the process that led to the revelation.

The Forest continues at Hampstead Theatre until 12 March 2022

Paul was given a complimentary review ticket by the producer

Click here to watch this review on the One Minute Theatre Reviews YouTube channel

October 10, 2018December 12, 2018

The Height Of The Storm by Florian Zeller – review

Jonathan Pryce & Eileen Atkins shine in confusing drama

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Production shot from The Height Of The Storm by Florian Zeller with Eileen Atkins and Jonathan Pryce — Eileen Atkins & Jonathan Pryce in The Height Of The Storm

Florian Zeller’sThe Height Of The Storm is confusing. If you’re going to see it, it’s good that you know this because otherwise, like me, you’ll spend the whole evening trying to work out what’s going on instead of simply enjoying a moving love story.

The play is meant to be confusing but, unlike Florian Zeller’s The Father where it’s soon apparent that we are seeing the world from the point of view of a brain befuddled by dementia, on this occasion it is never clear why.

We start by meeting an elderly man called Andre. It appears that his wife is dead. Sometimes he seems vague, hardly there, sometimes people are hardly aware of him. Is he living in memory but not physically? Does he have dementia? Then it seems he is dead and it’s his wife Madeleine who has survived. At other times, it seems both could be dead or both alive.

Click here to watch Paul’s review of The Height Of The Storm on the YouTube channel One Minute Theatre Reviews

These appear to be various possibilities of how the end days will pan out for an elderly couple. My take is that they are visions of the future imagined by a couple prior to a suicide pact (there is much mention of poisonous mushrooms) but there are as many possibilities as there are potential outcomes of the Brexit negotiations.

What we do know for sure is that we are witnessing a couple at the end of their days who have been so in love for a lifetime that their bond lasts beyond death or perhaps dementia. There’s no sign of age withering Jonathan Pryce and Eileen Atkins. They give an acting masterclass as the couple. They fill their performances with subtle emotions- not only love but compassion, confusion, frustration, anger. Andre’s quiet warmth radiates into the auditorium. Madeleine’s acid comments cut through the air with stiletto sharpness.

Jonathan Kent’s naturalistic production is perfect for Florian Zeller’s play about enduring love

Their relationship is the heart of the drama and leads to an immensely sad but uplifting climax, like, to use a key image from the play, a bird singing at the height of the storm of old age.

Jonathan Kent‘s naturalistic production, the detailed set by Anthony Ward that suggests a lifetime’s accumulation of possessions and Christopher Hampton‘s translation provide Zeller with perfect support.

Production shot showing cast of The Height Of The Storm at Wyndham's Theatre London — The Height Of The Storm

Depending on your age, you may also recognise the amusing attempts of the adult children to organise their parents’ lives and indeed shut those lives down by making arrangements for moving to a home.

I’ve read that you need to see this play two or three times to understand it. Since this is being presented at a mainstream London theatre, I imagine few will arrive expecting such confusion and even fewer will be able to afford to pay West End prices to see it again. If you go to see it, you might wish M. Zeller had given you a few more clues as to how to get inside The Height Of The Storm but you will come away touched by this portrait of transcending love.

The Height Of The Storm by Florian Zeller starring Jonathan Pryce and Eileen Atkins can be seen at Wyndham’s Theatre until 1 December 2018

Watch Paul’s YouTube review of The Height Of The Storm below

October 29, 2017February 17, 2022

The Lie at The Menier – Review

Alexander Hanson & Samantha Bond Excel In Zeller’s Comedy

★★★★

Alexander Hanson and Samantha Bond i n The Lie by Florian Zeller at The Menier Theatre — Alexander Hanson and Samantha Bond in The Lie by Florian Zeller at The Menier Theatre. Photo: Manuel Harlan

Is honesty the foundation of a strong marriage or should you lie in order to preserve your relationship? The former is ideal, the latter inevitable: that seems to be premise of The Lie, Florian Zeller’s new play at Menier Chocolate Factory.

A couple may or may not be having affairs. The fast-paced 90 minutes without interval is a constant cat-and-mouse game between them and with us the audience. Truths are stated that may be lies and lies that may be true. As an audience, every time we think we know where we are, the ground disappears from under us and we fall upon the next truth or deception.

Just to rub in that we really didn’t know what was going on, there is a clever moment when you think the play is finished and you get an extra scene in which you find out you really had no idea.

Tony Gardner and Alexandra Gilbreath are the epitome of French chic

Florian Zeller, as you may know from The Father, The Mother and The Truth, writes clever dialogue, full of tricks, and Christopher Hampton supplies a superb translation from the original French. To work, comedy needs pace and timing. Lindsay Posner’s production is fortunate in having a cast that couldn’t be bettered.

Samantha Bond’s facial expressions are to be treasured. Tony Gardner and Alexandra Gilbreath are the epitome of French chic. But it’s the facial reactions, the double takes, even the way he says ‘hmmm?’ that make Alexander Hanson the star of the show. You can see his character’s brain working.

This was an exhilarating evening, with many laughs and offering quite a bit of food for thought. It falls down through the lack of depth of its characters. And, although there is a more serious edge than in many comedies, the world of middle class marital deception is overfamiliar, the more so if you saw this play’s companion piece The Truth.

Since deception, of one’s self and others, is the foundation stone of comedy, The Lie should probably be even funnier than it is. Having said that, Florian Zeller slightly below par still provides an enjoyable evening.

The Lie continues at The Menier Chocolate Factory until 18 November 2017

Watch my review of The Lie at One Minute Theatre Reviews on YouTube

P.S. I love Menier Theatre but felt let down by the venue on this occasion. For the first time, I sat in the area of seating near to the air conditioning on the high numbers side. I asked for it to be turned off but it stayed on throughout the show. Consequently my neck and ear were subjected to an uncomfortably cold draught the whole time.

December 2, 2015October 30, 2017

The Father with Kenneth Cranham at Wyndham’s Theatre

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An Acting Tour-de-Force By Kenneth Cranham

Claire Skinner and Kenneth Cranham in The Father — Claire Skinner & Kenneth Cranham in The Father

When The Father opens, it appears to be straightforward comedy about Alzheimers. In other words, easy laughs at the way the old man can’t remember things.

By scene two, when one woman goes into the kitchen and a new actor comes back out, it’s clear we are in a very different play, a drama in which we are inside the father’s head and are as confused by what’s going on as he is. By the end, I was as emotionally wrung out as him.

My mother had Alzheimers, which may have made me recognise the grief more, but experiencing the man’s desperate retreat into second childhood at the end had me in tears. It was an acting tour-de-force by Kenneth Cranham.

The Father, directed by James McDonald, is a French play written by Florian Zeller, who is clearly a huge talent, and translated by Christopher Hampton, whose credits include the hit translation of Art. Claire Skinner provided excellent support.