THE MENTALISTS. To 20 July.

National Theatre

THE MENTALISTS
by Richard Bean

Lyttelton Loft To 20 July 2002
Mon-Sat 8pm Mat Wed & Sat 3pm
Runs 2hr One interval

TICKETS 020 7452 3000
Review Timothy Ramsden 12 July

Two potentially interesting characters with nowhere much to go.It's hell on earth; a standard en-suite hotel-chain bedroom. Ghastly minimalism with a veneer of comfort. But a deeper inferno edges its way in with today's occupants. Richard Bean patterns his hooks and surprises so neatly you long for some deviation from the clearly-planned route, just as a touch of decorative individuality in systems-built accommodation would come as a relief from maddening predictability.

Madness is clearly signposted from the start in Michael Feast's electric fury. His compressed intensity never lets up until the pre-ordained moment when the clues slip into place and the scales tumble from our eyes. Though many may have found them slipping earlier than intended; audiences soon run ahead of regular dramatic patterns.

There have been worse – far worse acted – shows on the road, or disgracing the West End, with the name of thriller. Though suspense is clearly in the air, the National's not ghettoising its latest Loft premiere that way. And Bean has a strong character contrast, reflected in the physical polarities of Feast's wiry, snapping figure and Duncan Preston's camp, relaxed giant towering over him, often enough shouted at but ultimately able to take control.

Through Ted, Bean makes the point that idealism doesn't always find expression through ideal, or even sympathetic, people. The video Ted's brought his old mate Morrie here to make – a break from the barber's usual sideline of hetero-porn – is a clear case of the danger in a little learning, promoting a new community, free of social ills, away from the pressures defined by everyday psychiatrists - Ted's despised 'mentalists'. It sells for £29.99, and if it were simply a con it would make Ted much less dangerous. Though he has a touching, if inconvenient, sense of morality (or personal loyalty), the play eventually reveals the darker pattern of his mentality.

Overall, the script comes across as a situation more than an action. And, in a season aspiring to attract new, younger theatre audiences (25% under 25s), is a piece about two sad 55 year olds the best kind of thing to offer?

Ted: Michael Feast
Morrie: Duncan Preston
Woman on video: Styliani (Astero) Lamprinou

Director: Sean Holmes
Designer: Jonathan Elsom
Lighting: Steve Barnett
Sound: Rich Walsh
Company Voice Work: Patsy Rodenburg, Kate Godfrey

2002-07-13 10:32:12