Review: THE OTHER PLACE, National Theatre
Photo credit: Sarah Lee
Alexander Zeldin’s The Other Place powerfully explores the destructive force of secrets unearthed by grief.
The Other Place opens in what could almost be Alan Ayckbourn territory: a family are clearing up breakfast in a suburban kitchen-diner that is in the throes of being refurbished. There are even some laughs – but it quickly becomes clear that this is going to be anything but a cosy comedy.
Chris (Tobias Menzies), his wife Erica (Nina Sosanya) and stepson Leni (Lee Braithwaite) are the householders in what was previously the property of Chris’s dead brother. The building works, including installing a huge picture window, are being done so that, as Chris frequently reminds everyone, they can make a fresh start. Early indications that starting afresh is perhaps not going to be easy come when we learn that the fourth person there, Issy (Alison Oliver), is the dead brother’s daughter, only recently returned to live back in the house.
As part of his fresh start, Chris has decided that he can no longer live with his dead brother’s ashes in the house, and is set to scatter these near a memorial bench. Everyone can go off to do this once Annie (Emma D’Arcy), Issy’s sister, arrives.
Anyone familiar with Antigone will not be surprised that on arriving Annie is adamant that the ashes must remain in the house, although in the original play, it is a dead brother’s, not a dead father’s, resting place that is the bone of contention. So far, so Sophocles. But purists should not expect the ensuing narrative to stick closely to that source: as the publicity makes clear, this is an entirely new play, after Antigone.
The initial exchanges between Chris and Annie set a tension that continues to build (the action takes place over the course of a day, in around 90 minutes run time). Chris’ references to Annie’s mental health problems makes it clear that she has been made a family scapegoat, having to embody the guilt of others. Annie being banished out of the house to sleep in the tent links to the origins of scapegoat as a literal goat that was cast out after symbolically having had people’s sins laid on it.
Zeldin’s writing here is tight, silences speaking as much as words, so there’s a heavy load on the actors to bring the characters to life. Both Menzies and D’Arcy do this brilliantly. Menzie’s Chris is an urban fox: outwardly smooth and calm but constantly on the alert, struggling to hide how threatened he feels. When he finally snaps and his viciousness is released, it is staggeringly frightening. As Annie, D’Arcy superbly plays against Menzies. Standing firm, Annie refuses to give sway to Chris. As they circle around each other, it becomes clear that Chris and Annie’s external tussles over the urn of ashes are nothing compared to their internal turmoils. The central tragedy is set in motion.
The other actors are equally excellent. Oliver’s sister also has her secrets and torments, covering these up with a brittle humour while Sosanya has some wonderful moments of passive aggressiveness. In and out of the action pops Jerry Killick as neighbour (and refurbishments project manager) Terry, and while Killick’s performance as strong as the others, the need for this extra character is not entirely clear.
In such a terrific ensemble, it seems unfair to single out any one, but Lee Braithwaite as the adopted Leni gives a standout performance, urging the older characters to be more reasonable but being the youngster swept aside. With no blood ties to Chris or Annie, the real tragedy of the piece is likely to be the impact in years to come on Leni.
Zeldin’s script leaves several questions unanswered. Why was the house not left to the daughters? Would Erica really not have known how Chris’s brother died? Mulling over such gaps in the narrative may occasionally pull attention away from the action, but Zeldin’s direction ensures that that action is riveting throughout.
Rosanna Vize’s set and costumes frame everything and everyone perfectly, and together with James Farncombe’s lighting, the staging presents a physical inside and outside that complements the actors’ psychological inner and outer shifts. The growing tension is subtly underscored with music by Yannis Philippakis and Josh Anio Grigg’s sound design.
Early on, Erica comments on how the new picture window lets in so much light. The Other Place will leave you wondering long into the night whether some things are best kept in the dark.
**** Four stars
Reviewed by: Mike Askew
The Other Place plays at the National Theatre until 9 November, with further info here.
