THE ROMAN ACTOR: Massinger, RSC, Swan till13 September, then Newcastle-upon-T

THE ROMAN ACTOR: Phillip Massinger
The Swan, Stratford Upon Avon: Tkts, 0870 609 1110
then Newcastle-upon-Tyne Playhouse in rep October 2-10.
Tkts: (Newcastle) 0870 905 5060
Runs: 2h 35m, one interval, eve perfs 7.30
Review: Rod Dungate, 30 May 2002

Dark and comic: a rare play given a fitting revival: a wonderful theatre event.
It is an intriguing gem of a play, its twists and turns, its abrupt and exciting changes of tones are boldly orchestrated in Sean Holmes's production.

Massinger's 1626 play centres around Roman emperor Domitian Caesar and his ever increasing cruelty and tyranny. It questions his right to rule, the nature of a well running society: it also examines the nature of theatre moral or immoral, capable of affecting human behaviour or not, its relationship with truth and reality. Multilayered themes and a multilayered play.

Antony Sher creates Domitian from the moment he first appears to his final death he is mesmerising. His appearance is terrifyingly ridiculous: standing on a high podium that is wheeled forward we think immediately of Hitler at his rallies. Sher adopts a strange upper register voice: it is unsettling, this man unnerves us, we sense an unpredictable madness about him and how right we are. Sher's Domitian seems never to stand still, physically, vocally, emotionally he changes second by second. Until, that is, he is about to strike. Then he is complete silence and stillness: a vicious, venomous reptile, tightly coiled about to pounce.

Joe Dixon's actor, Paris, could not be more different. His tall, muscular (and occasionally glistening) frame seems to move from one centred position to another. The character is ever aware of his body and his voice, Dixon skilfully gives full value to Paris's spirited defence of theatre without allowing the character to fall into narcissism. Confronted with real emotion (as opposed to acted) Dixon's Paris loses his composure and becomes vulnerable.

Domitia, Domitian's wrongfully obtained wife, is a powerful role: completely seduced by the power she has acquired, completely aware of the power she has over Domitian, she increasingly throws her weight around. However, just like Domitian, while she can control everyone else (because of position), she cannot control herself. Anna Madeley, however, has Domitia completely under control: the great emotional arc is both believable and disturbing.

Once again, the Swan ensemble shows how strong it is, and there's a terrific Moorish score by Adrian Lee.

Domitia and a loose-knit group of other 'court losers' assassinate Domitian: but there is no shared ideal we sense they act more from their own anger than through a vision of a better world. With the death of Paris and Domitian you are left wondering just who is the Roman Actor? A wonderful and dark play.

Aesopus: Wayne Cater
Latinus: Michael Matus
Paris: Joe Dixon
Aelius Lamia: Keith Osborn
Junius Rusticus: Joshua Richards
Palphurius Sura: Geoffrey Freshwater
Domitia: Anna Madeley
Parthenius: Antony Byrne
Aretinus Clemens: Michael Thomas
Caenis: Sian Howard
Julia: Shelley Conn
Domitilla: Amanda Drew
Domitian Caesar: Antony Sher
Philargus: David Acton
Stephanos: Sean Hannaway
Ascletario: Paul Bhattacharjee
First Tribune: Jamie Glover
Second Tribune: Billy Carter

Director: Sean Holmes
Design: Anthony Lamble
Lighting: Wayne Dowdeswell
Music: Adrian Lee
Sound: Martin Slavin

2002-05-31 10:41:30