Review: A MIRROR, Almeida Theatre
Photo credit: Marc Brenner
Sam Holcroft’s new play A Mirror will certainly make you think. Nothing is quite as it seems in this piece about censorship and the impact it can have on creativity. Full of twists and turns, you are kept on your toes until the very end and we left with a celebratory feeling of relief that we live in a country that has so much freedom within the arts.
Holcroft was inspired to write A Mirror following a trip to North Korea where they often stage fake weddings or funerals as covers for theatre. We were invited to the attend the wedding of Joel and Layla and the theatre was decked out with balloons, streamers and even a table of party food but the trappings are quickly whisked away as the true purpose of the performance is revealed.
We follow Adem who has been called to a meeting with the Deputy Minister of Culture. He has submitted a play which is full of talent but cannot be staged under the repressive dystopian regime. Čelik’s ambition motivates him to nurture Adem’s talent and attempt to twist his verbatim tendencies to suit the regime. The show is very secretive and we want to be careful to avoid spoilers but with the addition of office assistant Mei and successful playwright Bax, we explore the relationship between theatre and censorship, and the fine line between stories and reality.
Director Jeremy Herrin has described Holcroft’s writing as an intellectual interrogation and the commitment to this pursuit is clear. His direction is bold but also messy around the edges as we imagine an underground play would probably be. The actors turn the lights on and off and one scene is lit by a desk lamp. Max Jones’ set also fits this environment. A relatively simple but effective office set up morphs into the variety of real and fake scenes we experience. At one point, we are watching a play within a play within a fake wedding which could be incredibly confusing but luckily, we are guided by an excellent cast.
Micheal Ward, making his stage debut as Adem, is sensitive and conflicted as the ex-soldier turned mechanic and playwright, in contrast to the commanding presence of Jonny Lee Miller as Čelik. Miller really is an exceptional stage actor. He is charming and terrifying as he slyly manipulates those around him, especially his nervous assistant Mei played by Tanya Reynolds. Her performance is comic and compelling as her character undergoes the biggest arc of the story. Geoffrey Streatfeild is brilliantly obnoxious as Bax and also gets to sing a fun wedding breakfast song. Their performances are multifaceted, just like the play, and complement one another as their characters navigate the perils of an authoritarian regime.
A Mirror is two hours long with no interval and we can understand this decision to maintain the tension. There is a consistently uncomfortable undertone largely created by cellist Miriam Wakeling, which does keep the audience’s attention. However, in the moments before the final and surprising twist, we do begin to wonder where the play is going and when it will reach a resolution.
A Mirror is a bold and unique play about plays. It certainly keeps you guessing and makes you consider the value of theatre and the importance of free speech in society.
**** Four stars
Reviewed by: Sophie Luck
A Mirror plays at the Almeida Theatre until 23 September, with further information here.