Sasha Syzonenko, Hubert Hanowicz, Avital Lvova and Tom Wlaschiha. Photo by Manuel Harlan.Indeed, if the ensemble piece has a star, it is Miriam Burther’s set design, with its static kitchenette at one end and a library with piano at the other and war period files and shelving ranged around the raised platform. Periodically, the cast storm the space from multiple access points to create village scenes and even an impressively realised train journey, or wave at a mother cradling her baby in a distant wooded area.
Thomas (Tom Wlaschiha) has arrived at the London apartment of Ruth (Juliet Stevenson) the one-time idealistic crusader who with her team of helpers attempted to repatriate stolen special children (those exhibiting Aryan characteristics) who had been placed with families across Germany during the Nazi regime. He has something to ask, or more accurately, accuse her of in relation to his own life. As the play unfolds we are transported to the chaos of Germany under Allied and Russian occupation following the nation’s surrender and collapse. Eventually we learn that Thomas literally jumped on a plane from America to confront Ruth having been shockingly reunited with long lost Polish relatives the previous day, whilst performing at one of his piano recitals. Quite why he wouldn’t have preferred to remain with his new-found siblings and delve deeply into their past, rather than make a transatlantic flight, appears to be a moot point in David Lan’s undoubtedly well-meaning and heavily researched play. Instead he stands seething and stewing in the apartment of a woman he hasn’t seen in decades with the objective of venting and probing her intentions and decision-making by means of vague accusatory statements and pained silences. That said, as a device to delve into past events, it serves its purpose effectively and the remainder of the supporting cast imbue every scene with a multiplicity of characters, dressed in their finery, bedraggled garb and uniforms to imbue a solid sense of place and period.
Much hinges on Stevenson’s ability to appear both motherly and forthright, whilst conflicted and determined. The play requires her to be onstage throughout the two and a half hours running time, as she delves into scenes with photographer Bill (Michael Marcus), her assistant Dora (Kate Duchêne), American GI George (Michael Fox), her mother Elise (Caroline Loncq) and Young Thomas (Darcy Tosun in the role on the night I attended).
THE LAND OF THE LIVING continues at National Theatre’s Dorfman until 1st November.
