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It was all about truth and perception on this day Back Before The Lockdown:
I was in the main house of the Theatre Royal Bath to see The Truth. In the preceding years I had seen two plays from the same author, Florian Zeller, and translator, Christopher Hampton; the brilliant The Father and The Mother both of which had their UK premiere in the smaller Ustinov studio before heading to London's West End. Buoyed by those successes this one started in London before coming out to Bath and attracted a much larger audience, hence being on the main stage.
Although sharing a similar fascination with perception, reality, and truth this new play was significantly more comic in style, using many of the familiar tropes of a farce in it's depiction of romantic deceits and misdirections but all with a modern twist that made it feel fresh.
Even so, after the two previous powerfully emotive productions this one was inevitably more light-weight and so, for me, less impressive, which was further emphasised by being presented on the much larger main house stage than in the more intimate studio.
An unexpected delight presented by the Bristol Old Vic Theatre School at the Wardrobe theatre in Bristol, The Greatest of the Greatest is a tale of a theatrical ego war. Apparently based on a true story involving two leading Swedish actors as the elder attempts to create a masterpiece event show about the younger man's life.
Being an all female production this story of competing male egos had a particularly delightful edge of satire so the posturing of the two men, especially for a British audience unfamiliar with the real characters, made much more of a general comment on the pointlessness of machismo.
in 2016
Although sharing a similar fascination with perception, reality, and truth this new play was significantly more comic in style, using many of the familiar tropes of a farce in it's depiction of romantic deceits and misdirections but all with a modern twist that made it feel fresh.
Even so, after the two previous powerfully emotive productions this one was inevitably more light-weight and so, for me, less impressive, which was further emphasised by being presented on the much larger main house stage than in the more intimate studio.
in 2019
Being an all female production this story of competing male egos had a particularly delightful edge of satire so the posturing of the two men, especially for a British audience unfamiliar with the real characters, made much more of a general comment on the pointlessness of machismo.
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