Review: THE STANDARD OF LIVING, Theatre Royal Haymarket
Photo credit: Manuel Harlan
John Maynard Keynes is a fascinating man. Best known as an economist, one of the most influential of the 20th Century, he was also a lover of the arts and love as a bisexual man. His life demonstrates that a human should never be reduced to a single thing and that a good life can be measured by more than numbers.
Playwright James Graham has done exactly that in his new play The Standard of Living, which explores Keynes’ life from the First World War until his death in 1946 and how his love for economics intersected with the arts. The play opens with what we’re sure many were wondering, surely economics is a dull subject for a play? Thankfully, we were quickly proved wrong. The show is surprisingly comedic which is essential given the sombre backdrop of two World Wars and economic collapse. Credit must be given to the magnetic Rory Kinnear as Keynes and the expertise of the creative team. With direction from the acclaimed Nicholas Hytner, gorgeous period costumes by Jenny Beavan and set design by Bob Crowley, a series of moving projections showing archive footage and the paintings of Duncan Grant, the production is a feast for the eyes and brain.
The Standard of Living is incredibly engaging and educational, but Graham tries to accomplish a little too much. He makes strong but subtle enough arguments for spending out of an economy, embracing culture and approaching people, and problems with imagination; but the play could have had more impact if it focused on just one. Perhaps Graham was intending to create a biography of Keynes, but he has had greater success previously homing in on a more condensed subject. There are pieces of information sprinkled throughout the play such as Duncan Grant being the father of Vanessa Bell’s daughter but not her husband, and Keynes’ founding of the Arts Theatre in Cambridge and the Arts Council. These are fascinating titbits but are skimmed over and superfluous to the central economic narrative.
One can understand that as Keynes had so many intriguing relationships, and they themselves lived compelling lives, Graham was spoilt for choice when writing. As a member, and effectively benefactor, of the Bloomsbury Group, Keynes’ life intersected with cultural legends like Virginia Woolf, portrayed by an aloof Naomi Frederick. Keynes was a disruptor within the world of economics, his rivalry with Austrian economist Friedrich Hayek - played by the underused but excellent Laurie Kynaston - and disagreements with the British Government are central to his story. His personal liaisons were far from straightforward. He had affairs with the charismatic Duncan Grant (Thomas Flynn) and author Lytton Strachey (played by Pip Carter) who bristles with jealous following his rejection. However, his friends could not have been more surprised when Keynes began a relationship and ultimately married Russian ballerina, Lydia Lopokova. Fondly referred to as Loppy, Royal Ballet Prima Ballerina Natalia Osipova makes her acting debut. Her dancing is, of course, fabulous but ballet has also gifted her talent of facial expression, and her performance is comedic and endearing. Her vivacity contrasts the serious nature of Keynes who switches from Victorian gentleman and ‘tax man’ to passionate lover. Rory Kinnear commands the stage and breathes life into this complex character proving why he has had such a successful career in the theatre.
John Maynard Keynes’ life was sadly cut short aged just 62 but his impact has lasted longer than his lifetime. Eighty years after his death, The Standard of Living is a wonderful tribute to his impact on the modern world. Graham has captured his belief in using our imagination and challenging the status quo which are certainly values we can take forward to inspire our own lives.
**** Four stars
Reviewed by: Sophie Luck
