Review: The Misanthrope (Lyttelton Theatre)

Review by Daz Gale

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It has been the busiest week for new openings that I can recall in a very long time, and that is reflected at National Theatre, who have opened not one, but two new productions this week. My thoughts on brand new musical Pride at the Dorfman Theatre are now available to read, though it is probably best avoided if you get annoyed by me declaring anything the best show of the year. It was a trip next door to the Lyttelton Theatre to catch their other new opening this week for a new production of The Misanthrope. With the National Theatre debut of acclaimed actress Sandra Oh, there was much to be excited about. Would this production prove to be furiously good, or just like its main character, would I find much to dislike?

The Misanthrope was first seen in 1666, with Martin Crimp first adapting Molière’s story in 1996. Crimp has now revisited his earlier version, rewriting it from a new perspective, namely that of the character Alice. Alice is a brilliant, acclaimed novelist who is preparing for the release of her next book. However, her despising of basic human behaviour is getting her in increased trouble. With no desire to be kind or respectful, a backlash grows, threatening to derail her career and even fracture her personal relationships.

To be misanthropic is to essentially hate people, which may not seem such an alien concept given some of the goings-on in the world lately. The Misanthrope is brilliant in its ability to plant a deeply pessimistic and unforgiving person in the centre, ensuring she is unapologetic throughout, leading to a fantastic juxtaposition with the other characters, who are all more positive in their approach to everyday situations and life in general. The character of Alice makes for a refreshing change, with Sandra Oh’s distinct interpretation dominating the stage.

The poetic nature of the writing may not be to everyone’s taste, with Crimp taking the essence of Molière’s original and hiding rhymes in every line of dialogue. I must admit to finding it jarring at first, with early attempts to rhyme Alice with every conceivable word feeling unnecessary and lessening the overall quality. However, the quality soon drastically improved, and I got used to the rather different style of speaking found in The Misanthrope to the extent that I was able to appreciate how clever and intricate the writing here is.

Misanthropes can be found in all walks of life, even in theatre, so the use of theatre as a trope in The Misanthrope makes for a glorious, tongue-in-cheek element. Whether it is barbed jibes about people they have worked with in theatre, or the art of it in general, it makes for a humorous watch that exaggerates some defining traits we may have experienced with people we know. Theatre has a way of creeping through, though, and as it makes its presence felt the further The Misanthrope develops, it fights back until it has the ability to dominate. It is cleverly done in this production, with the blurring of lines, walls and boundaries adding a strong aspect to the production,

Much of that can be credited to Indhu Rubasingham’s direction. The National Theatre Director has put her own blueprint on the production, gloriously elevating aspects of both Molière’s original and Crimp’s adaptation to bring theatre to the forefront. The colliding of worlds is foreshadowed, with some rather on-the-nose dialogue giving an almost The Truman Show quality to the story. Rubasingham’s intricate direction ramps up the intensity in scenes, which is at its best when just two characters are interacting, with great care and attention to detail given to these conversations, ensuring every word and every line lands in the desired way.

Robert Jones’ set design brings a sense of glamour with it, providing the perfect setting for much of the action before offering a gorgeous and unexpected reveal. It should be noted that this reveal was the subject of a rather unfortunately timed show stop at the Saturday afternoon performance I attended, with me wondering if it was actually part of the show at one point - a massive cheer for all the stage managers out there who ensure the show goes on and fix whatever problems crop up as speedily as possible. Tim Lutkin’s lighting further complements Jones’ design elements, with clear sound design from Alexander Caplen ensuring the production sounds every bit as striking as it looks.

If there is one reason to see The Misanthrope, it is for the chance to be spellbound by Sandra Oh’s magnificent performance. Oh rages as the furious and formidable Alice, taking a largely unlikeable character and ensuring the audience never takes their eyes off of her. Through the delivery of her lines and the way she carries herself on stage, Oh delivers a masterclass performance in a truly astonishing feat that elevates the material, drawing attention away from some of the occasionally weaker elements in the writing. It is a double-edged sword, however. Such is the level of Oh’s electric performance that she leaves a huge, impossible-to-fill hole whenever she is not on stage. The momentum noticeably dips in the scenes she is not present in, which is not to take anything away from her talented co-stars, but is rather a testament to how phenomenal her portrayal of this force of nature is.

Speaking of her co-stars, Paul Chahidi is an early standout as John, creating an unlikely double act with Oh’s Alice as his much sunnier demeanour and comparatively exaggerated characterisation lead to a fun balance. Tom Mison is wonderfully captivating as Stefan, demonstrating a fragile nature that is on the verge of collapsing at any moment. Freddie MacBruce has some standout moments as Allen, while Jemima Rooper makes a late appearance, all guns blazing, making her presence felt as Elaine. The result is a blistering sequence that rates amongst the strongest moments of the play, particularly when Rooper and Oh share the stage together. It is just a shame we don’t see more of this character, as Rooper’s portrayal deserved more opportunity to perform. Another highlight comes from Imogen Elliott as Esmee, immediately changing the dynamic in her first appearance with her sense of joy, wonder and innocence, beautifully contrasting Oh’s Alice.

Having reviewed this a few days after most others, I can see that The Misanthrope has divided opinion, as have most of the shows this week (and always). With this production in particular, it is its style that has clearly caused the extremely differing reactions. You are either going to appreciate it or find it extremely jarring. I worried I was falling into the latter as the play began, but soon found myself switching sides and loving the creativity involved. One thing everyone can be in agreement on is how truly marvellous Sandra Oh is - the opportunity to see her on a London stage should be taken if you do get a chance, as what she does in the role of Alice is outstanding. Alice may hate people, but I defy anybody not to admire what Sandra Oh does here. Bringing new meaning to a rarely seen trope, you’d find it incredibly hard to hate The Misanthrope.

The Misanthrope plays at the Lyttelton Theatre until 1st August. Tickets from https://www.nationaltheatre.org.uk/productions/the-misanthrope/

Photos by Marc Brenner