Review: Dance of Death (Orange Tree Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

Richmond's Orange Tree Theatre is having one hell of a time lately, with an unrivalled hit rate of acclaimed plays, last exemplified with the fittingly titled The Rivals. The small but mighty theatre is now following that up with a new adaptation of August Strindberg’s Dance of Death. After all, if there's one thing audiences love more than a love story, it's a tale of when that love turns to hate. Would this new production find the right rhythm, or result in a terminal last waltz?

Newly adapted by Richard Eyre, August Strindberg’s Dance of Death tells the story of former actress Alice and army captain Edgar as they prepare to celebrate their 25th wedding anniversary. Trapped on a remote island in quarantine as a plague rages across Europe, they are locked in a bitter and continuous battle in a toxic relationship where each is always trying to get the upper hand. When an old friend arrives to help them celebrate their anniversary, it is the perfect opportunity for them to take their games to the next level.

It is a compelling and sometimes uncomfortable watch, as the two partners spread their vitriol with verbal and emotional abuse, amplified by the arrival of their old friend, Kurt. Strindberg’s story remains dark and unsettling at times, but full of a seldom seen honesty in a long since soured relationship. Though it has been exaggerated to a comic degree, the intimate nature of Orange Tree Theatre almost makes it feel intrusive to be witnessing such a fierce and formidable battle. Richard Eyre’s adaptation perfectly matches this tone, while tweaking it slightly to make his take on the story distinct and a touch more modern. Pepperings of modern language are sprinkled throughout, including what may be the best timed use of a certain four-letter-word I have seen in a play, using language like that sparingly, but ensuring the impact is as huge as it ought to be.

All the constant talk of death, and cutting lines from Alice wishing her partner would just get on with it and kick the bucket may not sound like the most light-hearted of watches, but Dance of Death is wickedly funny, riotously so at times. It is a dark humour, but the exaggerated nature of the characters makes for some hilarious moments, particularly at the expense of one of Edgar’s overblown outbursts. It may feel wrong laughing at such misery, but that is very much the intent, as is the mixture of theme and tone, reflecting life in that it is never straightforward. As the warring couple’s motives are called into question, and their true intentions may be open to interpretation, the dance continues from start to finish, never knowing where it is going to go, what the next move is going to be, who is going to come out on top, or even if they will all make it out of this play alive. It is those constant thoughts that make Dance of Death such a thrilling and exhilarating watch. The surprising couple I found myself comparing them to was Basil and Sybil Fawlty in Fawlty Towers - if you ever watched an episode of that comedy series and wished the ante could be upped to almost a murderous aspect, Dance of Death may well be the play for you.

Much of that is down to Richard Eyre’s outstanding direction. Orange Tree Theatre is one of the more intimate spaces in London, and their setting with the audience surrounding on every side makes for an experience like no other. Eyre uses this to his advantage, with Alice and Edgar’s living room spread across the tight stage (courtesy of a stunning set design from Ashley Martin-Davis) giving a sense of claustrophobia and truly immersing the audience in their world. I mentioned the word “intrusive” before, and that thought kept occurring to me throughout the play, as if I really shouldn’t be watching such a personal and uncomfortable confrontation between these characters, nearly forgetting this is fiction. That is what a play does at its best: provide total escapism and allow you to truly believe in what you are seeing, so it is a testament to Eyre’s faultless direction that this is achieved so confidently.

Dance of Death should also be commended for how pacey it is, running at two hours (including an interval), there is never a dull moment with the action keeping you guessing from the opening moment right until the slightly surprising climax. The dance of death in the title refers to multiple aspects of the story: there is Edgar’s literal dance with death as his health deteriorates, the dance the characters have in terms of surviving and trying to escape their marriage, as well as literal dancing used throughout, with Scarlett Mackmin’s choreography providing some strong moments that break up from the constant bickering.

The writing and direction are equally as strong as each other, but so too is the acting from the impressive cast of three. The appearance of Kurt completely changes the dynamic between the warring couple, with Geoffrey Streatfeild having to play to both parties, using different parts of his personality, and indeed Streatfeild’s own acting style. He more than rises to the occasion, proving a crucial missing piece and catalyst to propel this play to its thrilling climax.

Lisa Dillon is a revelation as Alice in a multi-layered character who reveals more of herself as the play progresses. Initially, Alice has the complete sympathy of the audience in the poor way she is treated and dismissed. However, Dance of Death is not quite as simple as that, and Dillon relishes the opportunity to explore the more venomous and manipulative nature of the character. Her magnetic presence lights up the stage with even her quieter moments proving compelling to watch. A great knack for comic timing and a great rapport with both her co-stars makes for a striking performance.

It is Will Keen who steals focus throughout, with his outstanding turn as Edgar. The inverse of Alice, he starts with the audience loathing him, only to elicit moments of sympathy as his health crumbles. Edgar is not an easy character to play, mostly down to the harshness of his character, but the same cannot be said for Keen, who wows at every turn. His ability to transition from one extreme of his character to another with a moment's notice always impresses, with the multifaceted nature of his performance absolutely triumphant in its execution. In a play that features three extremely strong performances, it is Keen’s that I continued to think about on the journey home.

Dance of Death beautifully exemplifies what makes Orange Tree Theatre such an exciting space to visit. The intimate and intrusive nature of this production allows for a no-holds-barred approach that you almost want to look away from, were it not so consistently captivating. Brilliant writing, direction and acting make for a play I couldn’t fault even if I tried. When it comes to the dance of death, this play finishes at the top of the leaderboard, ensuring there should be more life for this thrilling waltz long after the music stops.

Dance of Death plays at Orange Tree Theatre until 7th March. Tickets from https://orangetreetheatre.co.uk/whats-on/dance-of-death/ 

Photos by Nobby Clark