The Real Thing

The Old Vic, 26/08/24

Credit: Manuel Harlan

Final rating: ★ ★ ☆ ☆ ☆

Tom Stoppard’s ‘kaleidoscopic comedy’, first performed in 1982, is a tongue-in-cheek exploration of love, infidelity and relationships. It follows the life of sarcastic and uncaring playwright, Henry, who falls in love with actress Annie who herself has become an activist fighting for the release of Scottish soldier, Brodie. The play’s material holds up remarkably well for something now over 40 years old, but at 2hrs 20minutes it certainly starts to drag by the second act with some overly self-indulgent monologues about the theatre and writing – presumably Mr Stoppard couldn’t help himself given the chance to explain the reasons for his profession.

Music is a key part of the story, with a record player and a stash of records spread across the stage at all times. It helps to structure scenes and punctuate scene changes – with actors putting the vinyl on before the song seemingly emerging gradually out of the main sound system – it was very pleasing to watch.

James McArdle as Henry is a triumph. His command of the stage and other actors around him feels completely natural, and I believed every second of his privileged and ‘tortured’ writer characterisation. Bel Powley as Annie is just as good, starting out as the fun and exciting lover, we watch her go on a journey to become an equally tortured and frustrated partner-actor-activist, and the pair’s chemistry feels very genuine. Oliver Johnstone’s Max and Susan Wokoma’s Charlotte have a terrific opening scene, setting out the premise of a play concerned with ‘successful playwriting’, as a couple’s infidelity is played out in a shocking and comic fashion. After that, their characters sort of dissipate, and I felt disappointed that the actors basically went missing for a huge chunk in the middle.

Unfortunately the sheer length of the piece alone prevented me from being able to enjoy this story, and the ending didn’t feel anywhere near the build-up. And while the set was entirely functional and convincing, there was nothing that was groundbreaking to re-invent the wheel in terms of visual spectacle. With the name of ‘Stoppard’ attached to it, I’m sure the Old Vic put this play on with the intention of getting the most bums on seats possible. And I’m sure they succeeded, but given the show was mostly ‘just fine’, it is hard to know whether said bums will return.