Review: Grace Pervades (Theatre Royal Haymarket)

Review by Daz Gale

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West End audiences are spoiled for choice when it comes to seeing David Hare plays at the moment. While the nearby Duke of York's Theatre is home to a revival of Teeth ‘n’ Smiles, Theatre Royal Haymarket is hosting the London premiere of his latest offering, Grace Pervades. After a well-received run in Bath last year, will West End audiences fall under the spell, or will it fail to leave its mark in the same way the legendary actors at the heart of the story have?

Grace Pervades takes audiences back more than 100 years to pay tribute to two legendary actors - Sir Henry Irving, the first actor to ever receive a knighthood and Ellen Terry, his leading lady, both widely considered to be the greatest stars of the Victorian stage. This play chronicles their careers and their intertwining relationship, both on and off stage at the same time as Ellen’s troubled and brilliant children, Edith Craig and Edward Gordon Craig, who each made their own contributions to theatre.

David Hare’s writing thrills with its observations, intellectualism and acerbic wit. Managing to pay tribute to two of the all-time greats, while also amplifying the roles of Terry’s children to serve as a commentary on the state of theatre, Hare isn’t afraid to have the character of Edward Gordon Craig mock the institution. This may prove dangerous in a room full of theatre lovers, but such is the genius of Hare’s writing that it feels impossible not to laugh at it. The result is a biting commentary on theatre and both its many highs and lows.

In his writing, Hare manages to find subtlety and nuance while exaggerating over-the-top elements elsewhere. It is his character study on both Irving and Terry that proves the most intriguing, never being afraid to poke fun at Irving’s distinct choices and perceived flaws while never undermining his legendary status and the impact he had. Though I must admit not being overly familiar with the real people behind these characters, it served as a fascinating and riveting tribute to them that had me searching the Internet to find out more about them on my journey home.

Jeremy Herrin’s direction similarly thrills, somehow retaining a sense of intimacy despite the rather grand setting of Theatre Royal Haymarket. Performed in a non-linear approach, the action darts back and forth from 1880 to 1966, long after both Irving and Terry had passed away, serving as an example of the timelessness of theatre and how its impact can transcend not just generations, but centuries. Clearly signposted, it is always easy to follow with the juxtaposition of scenes between Irving and Terry and the two Craig children, making for an always exciting and slightly unpredictable watch, used to fantastic effect.

Bob Crowley’s set design at times feels a bit too small for the Haymarkey stage, but it works, By keeping the action to the centre of the stage for large portions, it heightens the intimacy of the piece, and comes into its own with a surprising transformation in Act Two, completely changing the aesthetic of the stage for a brutal but brilliant sequence. Peter Mumford’s lighting is particularly mesmerising, with a gorgeous use of shadow utilised in the production, while Akhila Krishnan’s video design has a novel way of changing settings through brushstrokes.

Though the creative elements are impressive enough in their own right, it is the performances that take things up to another level. Jordan Metcalfe is a comic highlight as the over-the-top Edward Gordon Craig, getting many of the most humorous moments of the evening, and faultlessly representing the real man’s distinct takes on theatre. Ruby Ashbourne Serkis is a refreshing contrast to both Edward and their older counterparts as Edith Craig, always bringing something different to the stage with her every appearance, and captivating at every turn.

Miranda Raison is a revelation as Ellen Terry, with an almost meta-performance channelling both the immeasurable stage presence of the iconic leading lady, while also demonstrating her own talents as one. Playing against a titan of stage and screen, Raison more than holds her own, going toe to toe to create a formidable double act that wows at every opportunity. Raison mesmerises in the moments she bursts into Shakespeare, commanding the stage consistently throughout in an astonishing performance.

It is the welcome return of Ralph Fiennes to the West End stage that proves the biggest draw in Grace Pervades, however, and he certainly doesn’t disappoint. If Irving is regarded as one of the greatest of his time, then so too is Fiennes of his. A truly remarkable actor, Fiennes effortlessly demonstrates why he is so well-regarded with a truly outstanding portrayal of Sir Henry Irving. Balancing the comedy and the drama with ease, Fiennes delivers what may be one of the greatest performances of the year, showcasing the God-given talents that set him apart from many of his counterparts in a performance I couldn’t take my eyes off. Sensitive at times, overblown at others, it was wonderfully dramatic, with Fiennes’ own readings of Shakespeare a sight to behold. Like Raison, it feels rather fitting to have such a heavyweight in the role - Fiennes is very clearly one of the best there is, and Grace Pervades is him at his very best.

It may be set in the 19th and 20th centuries, but there is a timeless nature to the story of Grace Pervades that makes it every bit as powerful in the 21st. A cleverly written piece about not just two legendary actors, but the art of theatre as a whole. Though it playfully mocks the arts with its sharp writing and some cutting remarks, Grace Pervades ends up acting as a love-letter to theatre, eventually reminding everyone in attendance why we fell in love with the art form, and how plays like this can make their subjects immortal.

Grace Pervades plays at Theatre Royal Haymarket until 11th July. Tickets from https://allthatdazzles.londontheatredirect.com/play/grace-pervades-tickets