In AFTER THE REHEARSAL director Ivo van Hove stages a naturalistic piece of theatre adapted from the film of the same name, focussing on the psychological complexity of Bergman’s story about the aging theatre director Hendrik Vogler (Gijs Scholten van Aschat). Much centres around the women in his life, the late actress Rachel (Marieke Heebink) and her daughter Anna (Gaite Jansen). “The director needs to learn two things, how to listen, and when to shut up”, says Hendrik to the young protégée Anna.Yet he is not capable of either. Haunted by the demons of his past, his sins and unfulfilled theatrical plans, Hendrik thrives when he is allowed to manipulate women and feel in charge.
Toneelgroep Amsterdam is one Europe's most exciting theatre ensembles and AFTER THE REHEARSAL is a perfect example of their best work. Van Hove directs his actors with his usual precision and nuance but it is their capacity to throw themselves deep into the work that makes this piece so poignant and both intellectually and emotionally draining (in a positive sense). Marieke Heebink is one of the finest actresses I have ever had the pleasure to watch and her fascinating portrayal of Rachel, an actress who struggles with mental health problems, is heart wrenching.
The second part of this double bill, PERSONA is a spectacular piece that allows van Hove to use more of his minimalist trademark a styles. Jan Versweyweld’s set transforms from a hospital ward into a place by the sea, as we enter the world of Elisabeth Vogler, an actress who has suffered a mental breakdown whilst performing Electra. There is heavy rain falling from “the Barbican sky” and little bubbles in the water that create the illusion of fish swimming in the massive pool on stage. The piece is substantially slower and van Hove takes the time and space to paint vivid images that require openness from the audiences. There is a particular scene in which the nurse attending to Elisabeth, Alma (Gaite Jansen) delivers a monologue so rich in pictures and sensuality, it managed to completely transport me onto the hot beach, where Alma committed “sinful acts” and gave in to her desires.
Perhaps my only criticism of this production is of the script editor Peter Van Kraaij, who has missed opportunities to create tension in PERSONA, especially towards the end. Nevertheless this doesn’t change the fact that Ivo van Hove’s AFTER THE REHEARSAL/PERSONA is yet another triumph, especially for those who appreciate the influence European directors are having on British theatre.
Having only opened in May 2013, The Park Theatre is a relatively new space, however, since it opened it has had 3 West End and 2 National Theatre transfers as well as 10 national tours, so sets a high precedent for the shows that follow. Expertly written by Neil Anthony Docking, THE REVLON GIRL is a powerful and poignant story, with extreme highs as well as extreme lows this play takes you on a rollercoaster of emotions that the title never could have foretold.