Review: MAN AND BOY, National Theatre

Photo credit: Manuel Harlan

Rattigan has gained in stature in recent years with many of his most well-known plays regularly revived. Man and Boy, a late work, has been such much less often; a failure when it first opened, it was last seen in London twenty years ago. The subject matter seems even more relevant now: a ruthless businessman who will sacrifice anything, including his son, in order to make a deal that will save him from going bankrupt. He is supremely evil and his business opponent is a steely adversary.

Well cast for the most part, the NT production in the Dorfman has a stunning performance at its centre, with Ben Daniels as Gregor Antonescu, Romanian businessman in 1930s New York. He is alternately terrifying and conniving, giving a very physical performance of an evil man who is warped physically and mentally. His worthy adversary is Malcolm Sinclair’s Mark Herries, immaculately buttoned up in every sense and revealing his weaknesses only through a gesture or throw-away remark.

Nick Fletcher also hits the mark as loyal assistant Sven Johnson, loyal that is until he sees his own chance of survival. These three powerful performances are the heart of the play, alongside Laurie Kynaston’s impressive Basil Anthony, son of Gregor and hapless pawn in his negotiations with his rival. Around these characters are a small group of essentially cameo roles, not all convincing, although Phoebe Campbell excels in the small role of Basil’s friend.

It’s certainly an interesting watch for Rattigan completists, and there is some great acting here, but the whole event comes near to being destroyed by the directorial concept. We enter the Dorfman to see an in-the-round setting and what looks like a giant snooker table. Credits for the play are illuminated on a billboard high above the audience, in 1930s lettering, and with each character name lighting up as that person enters the stage, thus distracting the audience just as they need to be attending. Apart from the lettering, there is no suggestion of period. Instead, we have the current directorial trope of a few modern chairs and, on this occasion, three tables.

Above the entrance that stands for a door, there is a sign saying ‘Knock Knock’, although characters who arrive there ring a bell. A joke? An ironic statement? A mistake? Who knows… The opening stage directions are read out to us, since the location is otherwise un-signalled. Key speeches are given standing on one of the tables, either by leaping on to them or with the help of a carefully placed chair – soon spotted by the audience as a move indicating a table speech is coming up. Up above, a lighting grid takes on a life of its own and comments on the action by its movement, and loud movie music punctuates the action. At least there’s no confetti.

Inevitably, director Anthony Lau’s sub-Brechtian concept for the production dilutes the effect of the powerful performances and works against the truthfulness the actors bring to the production. Those performances, however, ensure that this remains a powerful if flawed account of a late and perhaps minor work by Rattigan.

*** Three stars

Reviewed by: Chris Abbott

Man and Boy plays at the National Theatre until 14 March, with further info here.