National Theatre's Man and Boy: A Stylized Yet Emotionally Distant Revival
The National Theatre continues its innovative programming with a bold revival of Terence Rattigan's lesser-known 1963 play, Man and Boy, at the Dorfman theatre in London. This production, directed by Anthony Lau, reimagines the classic drama through a high-concept lens, merging elements of screwball comedy and financial thriller into a visually striking but emotionally remote experience.
A Tale of Corruption and Familial Reunion
The play centers on Gregor Antonescu, a megalomaniacal Romanian financier portrayed by Ben Daniels, who faces imminent corruption charges. In a desperate bid to salvage his crumbling empire, Gregor reconnects with his estranged son, Basil Anthony, played by Laurie Kynaston. Basil has abandoned his family name to pursue a career as a songwriter in 1930s Greenwich Village, only to be drawn back into his father's web of deceit and manipulation.
Rattigan's narrative explores themes of betrayal, capitalism, and fractured relationships, with Gregor attempting to pimp out his own son to American businessman Mark Herries, portrayed by Malcolm Sinclair, as a means of self-preservation. This explosive storyline resonates with contemporary parallels, echoing modern scandals like that of Jeffrey Epstein, yet the production's stylistic choices often overshadow its dramatic core.
Silver-Screen Stylization and Conceptual Overload
Director Anthony Lau and set designer Georgia Lowe have transformed the Dorfman stage into a cinematic spectacle. The basement apartment setting is adorned with art deco-style credits that illuminate as characters appear, evoking the glamour of 1930s silver-screen cinema. Green baize covers the surroundings, and a central table serves as a multifunctional prop, suggesting a giant game of snooker where characters maneuver and clash.
This heavy-handed artifice, while visually engaging, creates a barrier to emotional engagement. The first half of the performance feels labored, with exaggerated performances that verge on operatic. Kynaston's Basil exudes bewilderment and anger but lacks a sense of authenticity, while Daniels' Gregor moves with a strangely poised, slow-motion grace that further distances the audience from the character's inner turmoil.
Performances That Shine Amidst the Chaos
Despite the conceptual fray, certain performances manage to break through. Isabella Laughland delivers a deliciously charged portrayal of Gregor's wife, a former typist turned faux countess, strutting in silk pyjamas and heels. However, her character remains more of a caricature than a fully realized individual. Similarly, Phoebe Campbell's Carol Penn, Basil's girlfriend, leans into a cartoonish Long Island accent, and Leo Wan's lawyer provides comically tetchy relief.
The production gains traction in its latter stages when some of the theatrics are pared back, allowing Rattigan's subtexts to surface. Gregor emerges as a darker analogue to Jay Gatsby, his downfall and self-loathing rejection of filial love intellectually understood but rarely felt. This emotional disconnect is a significant flaw in an otherwise ambitious revival.
A Missed Opportunity for Contemporary Relevance
Man and Boy is inherently a powerful critique of capitalist corruption and moral decay, themes that resonate deeply in today's socio-economic climate. Yet, Lau's direction prioritizes style over substance, smothering the drama with conceptual excess. The result is a mishmash of genres that dazzles the eye but fails to stir the heart.
Running at the Dorfman theatre until March 14, this revival of Man and Boy is a testament to the National Theatre's willingness to experiment with canonical works. While it offers a fresh spin on Rattigan's old yarn, it ultimately leaves audiences admiring its innovation from afar, rather than being moved by its tragic core.
