Review: THE TRUTH at Apollo Theatre
The bromance between Florian Zeller and Christopher Hampton blossomed due to the considerable mutual respect which each feels for the other’s writing style, particularly the windows and insights they reveal into the human condition. The Frenchman’s play THE TRUTH (in an English translation by Hampton) has just begun a run at the Apollo Theatre on Shaftesbury Avenue, marking a full decade since it premiered at Menier Chocolate Factory (around the same time as the fateful Brexit vote which perhaps typified dishonest public discourse like no other).
Ardal O'Hanlon as Paul and Stephen Mangan as Michel in The Truth. Photo by Johan Persson
Zeller in a conversation with Marianka Swain (which is noted sagely in the programme) states that “…we live in a world where truth has become an opinion among many others…” and that “…lies don’t seem to embarrass those that spread them openly and publicly”. He most definitely has a point, but this is not a play about Trump, Farage, Johnson or any such political animals.
Two married couples have clearly been hiding infidelities and indiscretions from wives, husbands, lovers and best friends for some while. And what a tangled web it proves to be. The principles of fundamental truth butt-up against the pragmatism and diplomacy of not hurting someone’s feelings, but when does lying by omission equate to disloyalty and dishonour? Over the course of 7 segmented scenes each set in a hotel bedroom, tennis club changing room and other locales, snippets of pertinent information are revealed via confession or admission gradually filling-in the gaps for the audience, and more particularly, the leading man.
Director Lindsay Posner has assembled a cast of four players Stephen Mangan (as Michel) and Janie Dee as his wife (Laurence), with Ardal O’Hanlon as his best friend (Paul) and Paul’s wife Alice (Sarah Hadland - who, as we find out in the opening segment, is also Michel’s mistress of the past 6 months). All clear so far?
On a neatly packaged set by Lizzie Clachan which relies on momentary black-outs to slide and fly backdrops and fittings you’d be right to conclude that there are strong farcical elements at work here, but with fewer frenetic moments of zany interplay. It is more about Mangan’s Michel delivering the blasé confidence of a man in control only to unravel the moment a calmer and more analytical brain asks a wrong-footing and pertinent question. Watching Mangan attempt to unfrazzle himself, is an absolute joy.
If the play has a message at all, it is that no-one ever knows everything about everything, no matter how compelling and apparently clear-cut the situation and facts. It’s always good to ask questions, but don’t assume you’ll like the answers.
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