DEATH AND THE MAIDEN.

London

DEATH AND THE MAIDEN
by Ariel Dorfman

King's Head Theatre
Tue-Sat 8pm Sat & Sun 3.30pm
Runs 1hr 45min One interval

TICKETS: 0207 226 1916
Review: Timothy Ramsden 1 August

A startling, vivid revival.Ariel Dorfman's drama understandably attracted a number of productions after its Royal Court British debut. There's narrative tension, a serious theme all with three actors and one set. Made for cash-strapped, audience-wooing yet conscientious theatres to programme. But this revival has something special, and she's called Angelica Torn.

Forget the re-opening of a 15-year old wound from when a South American dictatorship abducted, tortured and raped her; this Paulina has clearly been reliving the experience night and day. What initially seems sourness relieved with only rare moments of affection soon emerges as anger at her husband's proposed heading a tame commission to reconcile the dictatorship's crimes no names, and only the most severe incidents to be investigated.

But even more, it's the degredation replaying itself in the head of someone outwardly affluent and living in a peaceful society. The rapid-rattle delivery of feelings that squirt themselves into verbal existence, the long silences where the past hammers in her head against the reasonable present, technically recall the agonised Sylvia Plath Torn gave here (and at New End) in Edge. But even where technique's evident the slow, stop-mo move to clasp her husband's hand - it evinces inner agony. Watching Torn perform is like trying to sit on a landmine.

Realistic questions of her American accent against the men's British tones don't occur, this woman lives on such a different plane. Rupert Wickham's considered manner is very British but also exemplifies the person coming at history from the outside; someone seeking justice who's never been at the wrong end of an electrode.

The play's debate is forceful. Gerard sees the risk of alarming the Right into regrouping an military takeover. Against this rationality is the demand for a victim's human justice, and for a woman to re-emerge from being a victim.

At first Leigh Lawson's suspect-torturer turned good Samaritan seems over-ripe, until the heartiness itself becomes suspect when, tied-up and reined-in by Pauline, he mixes fear and savagery.

Paul Alexander's production only faulters in the brief epilogue, both tentative and over-explicit. Till then public and private have been brought thrillingly to life.

Dr Miranda: Leigh Lawson
Paulina: Angelica Torn
Gerard: Rupert Wickham

Director: Paul Alexander
Designer: Norman Coates
Lighting: Dan Crawford

2004-08-02 14:46:00