Gareth's Culture and Travel Blog

For a 32-year-old, adapter / director Robert Icke has had an extraordinary career. Fifteen major productions in eight years, of which nine were at the Almeida, four of them transferring to the West End. Until this, I’d seen nine, six of which I loved. His work isn’t always to my taste, but it’s always interesting. This is his last production as Associate of the Almeida and for me he’s ending on a real high.

I don’t know the source of this adaptation, Arthur Schnitzler’s ‘Professor Bernhardt’, but it’s billed as ‘very freely adapted from’ so probably more Icke than Schnitzler. It’s a riveting debate about medical ethics & politics and how modern society responds to such issues. We’re in a medical institute which researches into and treats dementia, but the incident that generates the debate concerns a young girl who’s taken in as an act of mercy. Her death is picked up by interest groups covering faiths, abortion, race and sex, fuelled by the internet, social media and the press, escalating in a matter of days, with most of the debate driven by emotion and special interest.

Casting which is gender and colour blind, and in one case of doubling up, means things are only revealed by what is said rather than what is seen, so identities aren’t always immediately obvious. The first half sees the debate confined to the institution, though events outside are being monitored. In the second half they become public, and the worst aspects of modern society’s obsession with witch hunts and public ‘crucifixions’ come to the fore. The unfolding drama and discussion has you in its grip throughout, with the plainness of the design placing all of the focus on the dialogue as it takes its hold. It could easily be dry, but I found it thoroughly absorbing and emotionally engaging. It would be good to think those who judge without evidence get to see it, but they are probably making ill-informed comments via their smart phones or pursuing a blinkered view based on vested interest.

Juliet Stevenson is onstage throughout, even during the interval, and her performance is an extraordinary tour de force, moving from detached and logical to surprised, defiant, combative, dejected and broken, a real roller coaster ride. There is a fine supporting cast in multiple roles and a drummer high above the stage adding tension through percussion. I left the theatre emotionally drained but exhilarated. I suspect I shall be processing for days. As fine a piece of drama as you could wish for.