Review: The Authenticator (Dorfman Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

It's all change at National Theatre at the moment, with new productions taking over their three main stages in quick succession. I reviewed Summerfolk at the Lyttleton recently, and you can check back here this weekend for my thoughts on Les Liaisons Dangereuses at the Olivier, but tonight it's the turn of the Dorfman Theatre for their latest offering, The Authenticator. Historically, this has been the most consistent of the three spaces in recent years, with Till The Stars Come Down, The Hot Wing King and A Tupperware Of Ashes all receiving rave reviews from me in recent years. My suspicion is this is one stage that can't put a foot wrong, but it would be down to this newest play to authenticate that theory.

The world premiere of award-winning playwright Winsome Pinnock’s latest offering is set in a stately home after Fenella Harford discovers a stash of hidden diaries. Having been in the Harford family for generations, she enlists the help of Marva, a young academic, to authenticate them. As they look back to the 18th Century, they try to make sense of secrets that have long been hidden, attempting to uncover the truth that may just reveal an unlikely connection.

The Authenticator describes itself as a gothic psychological thriller, and it has elements of all of those, as well as many others, in a play that blitzes through multiple genres in a speedy 90 minutes. The one consistency is the strength of Pinnock’s writing, offering moments of humour, while packing the play with very real and serious issues. Among the themes are ancestry, slavery and cultural appropriation, which may feel like a lot to unpack in such a short space of time, so it is a testament to Pinnock’s writing how widely these themes are covered.

There is an argument that the ever-changing genres and tone of The Authenticator may do a slight disservice to it, in parts, with the play never quite settling on one identity. At times, it is history play, at others it is a detective mystery, and it even shows elements of farce during some of the more comedic moments. Though these sudden and inconsistent changes may prove jarring to some, one thing is for sure: it means The Authenticator is certainly never boring. You never know where you are heading in a play full of twists and turns, fittingly reflecting the maze that features at one point of the play. Though it may take a while to get there, eventually you find your way out, making the trickier parts of the journey feel worth the while.

Pinnock’s fantastic writing is matched by Miranda Cromwell’s exciting direction. The Dorfman is my personal favourite of the three National Theatre staged due to its versatility in configurations, meaning you never quite know where you will be sat in relation to the stage. For The Authenticator, audience members have the option to sit on the stage, meaning it is essentially in-the-round (square technically, but never mind). Quite a surprising choice for a stage with so many intricacies and secrets buried within it, but one that works in the show’s favour, allowing for an even more intimate production than I have previously seen in this space. Cromwell’s choices meticulously amplify the three-hander, ensuring each of the three characters is as fleshed out as Pinnock’s writing allows, and even going as far as to exaggerate the nature of some of them (well, one in particular).

Jon Bausor’s set design is deceptively simple, seemingly set in one room of the Harford Stately Home. Deceptive is the keyword, as the stage transforms into the entire house. One stunning sequence sees Fen give her two visitors a tour of the house, with the stage transforming as they venture from one room to another - think stairs appearing out of nowhere, hidden doors at the side, trap doors underneath with objects popping up and disappearing again. It is a breathtaking sequence, with full credit going to Bausor’s thrilling set design and Cromwell’s inspiring direction in how faultlessly it is executed.

The Authenticator feels like quite a grand play, no doubt helped by the fact it is set in such a sprawling Stately home, so the fact that the story is acted out by a cast of three gives a refreshing contrast. Reiki Ayola is perhaps the most understated of the three in her portrayal of Abi. Though she proves to be the connection between the other two women, she is more than happy to take a back seat for large chunks of the play, with Ayola mastering the less-is-more approach, making her presence felt in the moments where it truly matters, most notably a drunk sequence, full of revelations.

Cherrelle Skeete goes on a huge transformation in the ninety minutes of The Authenticator as Marva, with her youthful nature and enthusiasm soon forcing her to grow up suddenly as she tries to get to the bottom of the mystery she has uncovered at Harford House. This gives Skeete plenty of scope to display her range as an actor, wowing at every opportunity. There are moments where she attempts to match the understated nature and professionalism of Ayola’s Abi, while others show her in more of a frenetic state. Whichever aspect of her personality comes out, Skeete is always completely captivating in a star turn.

The cast is completed by Sylvestra Le Touzel as Fen in a performance that threatens to dominate and winds up becoming scene-stealing at its best. Her upper-class demeanour soon reveals a wilder side, with Le Touzel unravelling as the play progresses, often to hilarious results. It is the scene where she gets drunk with Abi that proves the catalyst for the remainder of the play, as she gradually reverts to her past self in a riotously funny sequence. The aftermath of that evening results in an unexpected change involving cultural appropriation. Though there is an element of how uncomfortable and wrong this is, it is written in such a way that it accentuates the humour. The audience is encouraged to laugh at the absurdity of the situation, provided they can still recognise how inappropriate it is. It is a demanding character, but Le Touzel relishes the opportunity, delivering a standout performance in the process.

It is always wonderful to see new writing on stage, particularly when it comes from someone as reliable and acclaimed as Winsome Pinnock. The Authenticator matches her usual standard, in a play packed with a multitude of themes, delivered by an outstanding cast of three. Perhaps the ever-changing genres and conflicting tones might not prove to be everybody’s cup of tea, with the sense it could use the slightest bit of reigning in to find its identity even more clearly. I personally found the play to be riveting from start to finish, seemingly getting even better as it progressed. The jewel in its crown is the serious message uncovered, and told with refreshing humour, leading to the perfect balance. While it might not be completely perfect, there is more than enough on offer here to authenticate its quality in a truly impressive production.

The Authenticator plays at the Dorfman Theatre until 9th May. Tickets from https://www.nationaltheatre.org.uk/productions/the-authenticator/

Photos by Marc Brenner