PROFESSOR BERNHARDI. To 7 May.
London
PROFESSOR BERNHARDI
by Arthur Schnitzler new version by Samuel Adamson from a literal translation by Nadja Sumichrast
Arcola Theatre 27 Arcola Street E8 To 7 May 2005
Final performances 2,3,7 May 8pm
Runs 2hr 40min One interval
TICKETS: 020 7503 1646
www.arcolatheatre.com
Review: Timothy Ramsden 30 April
Scintillating debate in a sizzling production.Its fellow plays in the Oxford Stage Company/Dumbfounded Theatre Last Waltz' season focus on sexual morality and society; Arthur Schnitzler's invigorating debate, recognisably from the same world, is built around Viennese anti-Semitism. It could be a thematic prelude to Tonight Lola Blau, reviewed at New End Theatre in January 2005. Schnitzler's is ancient regime prejudice but shows why Austria so readily welcomed Hitler's anschluss, as New End's production vividly exemplified.
It starts on a light note, with leading medics of the private Elisabeth Institute lined up for a photograph, their hospital's name upside down. By the central scene in Mark Rosenblatt's splendidly confident production these people are a committee in chaos, arguing, pacing the room, fiercely interrupting each other. The whole place is upside down.
Bernhardi's Jewishness has been tolerated, though resentments simmer when he supports another Jew for a post (because he's the best applicant). But when Bernhardi, from humane motives, prevents a priest administering Last Rites to a dying woman he brings down public wrath and brings out a range of agendas among his colleagues.
Samuel Adamson's fluent adaptation gladly employs phrases with modern resonance. Such spin is understandable; it would take an intimate knowledge of currents in 1900 Viennese society to follow Schnitzler's detail. But he brilliantly depicts the dynamics of betrayal, loyalty, and individual clashes (comically prefigured in the busy opening scene).
Christopher Godwin shows Bernhardi as principled, rising above others' pettiness, yet stubborn and non-conciliatory, like Ibsen's Thomas Stockmann (we hear he's his own worst enemy in court) - unlike perpetual student Hochroitzpointner whose chubby, lying egregiousness is linked to Germanic tradition by a duelling scar. But this is a fine cast throughout, including Dale Rapley's smilingly frank opponent and John Dougall as Bernhardi's ally. If John Stahl's Flint, enjoying the trappings and regalia of political office while claiming he wants to return to medical practice, is somewhat guyed Stahl makes up for it in his other role's impassioned defence of Bernhardi.
This accomplished production shows comedy in dramatic debate a century ago was not confined to Shaw. The only tragedy is it closes on Saturday.
Mr Hochroitzpointner: Roger Evans
Nurse Ludmilla: Mariah Gale
Dr Oskar Bernhardi: Tom Godwin
Dr Kurt Pflugfelder/Professor Filitz: Bertie Carvel
Professor Bernhardi: Christopher Godwin
Professor Ebenwald: Dale Rapley
Professor Tugendvetter/Dr Lowenstein: John Dougall
Dr Adler: John Lloyd Fillingham
Professor Cyprian Fred Pearson
Dr Schreimann/Privy Counsellor Winkler/Dr Goldenthal: Deka Walmsley
Professor Pflugfelder/His Excellency Dr Flint: John Stahl
Dr Wenger/Father Franz Reder: Jake Harders
Secretary/Housekeeper: Caroline Hayes
Director: Mark Rosenblatt
Designer: Jon Bausor
Lighting: Tim Mascall
Sound: Adrienne Quartly
Assistant directior: Lydia Ziemke
Assistant designers: Anna Jones, Tom Rogers
2005-05-02 12:17:35