A Critical Stage

Theatre At The Tabard • Weds 31st May - Sat 17th June

Being a theatre critic (personally I prefer the term ‘reviewer’), can certainly have its ‘moments’. One of my own more memorable ones came when I was confronted by a disgruntled director asking me to qualify the 2 star review I had given his play. (The play and the director shall remain nameless but, if you dig deep enough…). That this conversation was actually happening in my own kitchen ahead of a photoshoot he was overseeing for another director’s production made the situation all the more awkward, although his eventual confession that the play had gone much smoother the evening following press night led me to think that my review had not actually been too wide of the mark. With this in mind, I could therefore immediately relate to the predicament theatre critic James Agate finds himself, as told in the world premiere of Gareth Armstrong’s new play A Critical Stage, currently playing at the Theatre At The Tabard. Here Agate, (played by Jeremy Booth) is confronted in his study by his friend Gwen Ffrancon-Davies, (played by Barbara Wilshere) an actress about whom he had written a less than flattering review after seeing her performance as Lady Macbeth. The confrontation, that comes early in the play, is made all the more entertaining given that A Critical Stage is actually based on true events.

Now mostly forgotten, James Agate used to be more widely known as the influential theatre critic for the Sunday Times (1923 to 1947). Described by broadcaster Alistair Cooke as “irritating, brilliant, perceptive, self-centred, argumentative, charming, spoiled, explosive, capacious”, Booth effortlessly manages to bring all of these qualities to the stage and, assuming Cooke to be right, succeeds in bringing Agate vividly back to life. Booth is also equally adept in hinting at Agate’s rather less apparent softer side, which manages to break through his more naturally-acerbic character on rare occasions. This is best seen in his employment of Leo, (a memorable performance from David Acton), an illegal Austrian Jewish refugee who has become Agate’s long suffering secretary, (the play is set three years before the end of World War Two) as well as a genuine fondness he shows for a boy who lives in the somewhat more squalid apartment below. Sam Hill, who plays Agate’s tolerant houseboy, ‘Smike’, completes this four-hander, and the play quickly develops into a well observed study of character, communication, friendship, hardship, ego and ambition. That Agate was also gay at a time when homosexuality was still illegal in Britain add’s another layer to this fascinating story, (and one that felt apt to be watching on the first day of Pride Month, it faithfully recreating an era now all too easily forgotten!) Despite the ramifications of being discovered participating in ‘homosexual acts’ at that time, Agate seems as cavalier in his sexual exploits as he is in his forthright reviews and opinions, and frequently puts his career and his reputation at risk with his somewhat indiscreet sexual exploits, (the play opens with Smike discovering Agate bound, gagged and robbed after one such, misjudged liaison).

Hazel Owen’s set design is an impressively faithful reproduction of what Agate’s 1940’s apartment may very well have looked like, resplendent with its heavy wooden writing desk, typewriter, (remember those, kids?) and trophy cabinet, (around which Armstrong manages to construct a hilarious, ongoing gag that runs through the first half). There is also a beautiful old radio through which the sounds of Glen Miller plays, further assisting the audiences transportation back in time as they enter the auditorium. This press night audience was on average older than many I have typically found occupying the seats of the many pub-theatre/fringe productions I have previously seen, but given Agates propensity to name-drop, his references to Gielgud, Wilde, Proust, Bernhardt and Plomley all get a knowing murmur of recognition from the audience. The millennials are given enough information as to not completely miss out on the significance of the figures being mentioned, but the exposition required to keep everybody on board does occasionally find itself being added at the cost of the otherwise finely tuned dialogue.

A Critical Stage is a gentle, but nonetheless highly enjoyable, witty and surprisingly layered production that, despite the amusing shock of its opening, allows itself time to let the story unfold. Whilst older members of the audience will no-doubt enjoy the nostalgic journey this production will take them on, there’s plenty for the more curious under-thirties to take from this production, not least of which are some important moments from history that can be found in the peripheral vision of this enjoyable production. Directed by the plays author, Gareth Armstrong also impresses by never allowing the physicality of the play to get uncomfortably static, even though it takes place in the single location of Agate’s apartment. One can’t help but wonder what the man himself might have thought of the play, but given his desire, despite his profession, to have left his mark in history, I think he would have been delighted to find himself the subject of this affectionate play, and would probably even have allowed himself a wry smile at being presented at his irascible best.

It’s worth noting that Gwen Ffrangcon-Davies went on to play Lady Macbeth, opposite John Gielgud, for almost an entire year in the 1942 production of Macbeth… despite James Agate’s review!

★★★★

review: Simon J. Webb

photographs: Charles Flint