Review: CREDITORS, Orange Tree Theatre
Photo credit: Ellie Kurttz
Creditors was written by August Strindberg in 1888, adapted by Howard Brenton in 2019, and is now revived for the intimate Orange Tree Theatre in Richmond, where director Tom Littler has really delivered since he arrived in 2022. Without ACE support as an NPO or for a capital project to transform access, improve the welcome in the foyer and embed sustainability, he is making real waves in this corner of West London. It’s attracting an exciting young audience mingling with the wealthy local supporters and some famous faces like Philip Glenister, Roger Allam and director Richard Eyre on press night.
On stage, the magnificent trio comprises Nicholas Farrell as the troubled artiste Adolf, his successful wife Tekla played by Geraldine James, and Charles Dance as the mysterious Gustaf. The programme notes describe Gustaf as “pretending to be someone he is not. Gustaf’s real identity (I won’t spoil the plot twist) is revealed well into the play”. But although watching the play for the first time, it appears fairly obvious quite early on who he is, and the twist is something of an anticlimax.
It is quite a coup to persuade an elite trio of performers to play this venue for five weeks and their names secure a sold out run as it opens, and there is no doubt that the audience are suitably impressed. In such a small venue, the audiences faces are lit as much as the cast on the four sides of the stage and as the play proceeds, you naturally catch their enraptured gazes. We can all see the insecurity, fear, anger, and concern in Farrell’s eyes; we can see the sparkle, joy and tears in James’s eyes; and we can see that Dance, with his rich voice, still attracts admiring looks from many in the audience.
The effect is that it is like we are watching a verbal boxing match in three rounds or peering into a theatrical bear pit as the pairings match up. First up is Adolf versus Gustaf, with Adolf terrified of losing his wife while Gustaf taunts and teases him with misogynistic jibes. He says “a woman is a man who is incomplete” and that “this woman has eaten your courage”. Adolf admits that he had shouted at his wife to stop flirting as “you will never attract a lover at your age, you hag”. It hardly makes you sympathetic to either man. Then Adolf versus Tekla with his doubts being exposed with “people think we can’t be married because we kiss all the time” as they explore where their relationship has broken down. Finally, in round three, it is Tekla versus Gustaf with that twist and a knockout blow.
Littler choreographs the verbal jousting around a table, six seats and a stool, placing the combatants close to us before moving them around the ring to ensure we don’t get too many back views! The setting works well with elegant furniture and costumes and an evocative soundscape by Max Pappenheim .
The real joy of the production is the proximity to three such prestigious actors and how they embody these complex period characters, though you do catch occasional stumbles over lines and on press night, a broken earring! It is another hit for the Orange Tree and another feather in Littler’s directorial hat. Next up is Hedda, set in 1948 and inspired by Ibsen’s classic play. The good and the great of Richmond can’t wait.
**** Four stars
Reviewed by: Nick Wayne
Creditors plays at London’s Orange Tree Theatre until 11 October, with further info here.
