Review: THE REAL THING, The Old Vic Theatre

Photo credit: Manuel Harlan

Tom Stoppard's The Real Thing, currently gracing the stage at The Old Vic, is a unique exploration of love, infidelity, and the power of words. Directed by Max Webster, this production breathes new life into Stoppard's 1982 comedy, offering a thought-provoking and emotionally resonant experience that leaves audiences questioning the nature of authenticity in both art and relationships.

At its core, The Real Thing follows Henry (James McArdle), a playwright, and Annie (Bel Powley), an actress, as they navigate the complexities of their relationship, which began as an affair. Stoppard's signature wit and wordplay are on full display as the characters grapple with weighty questions: What constitutes real love? Are emotional and physical love distinct? Does having "the real thing" give one permission to explore desires outside of marriage? Stoppard's assertion that "Words are innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos" resonates throughout the work, as characters deftly manipulate language to serve their own ends.

McArdle delivers a standout performance as Henry, embodying the middle-class writer with a perfectly witty sensibility. His banter with other characters is reminiscent of an Oscar Wilde comedy, yet he seamlessly unravels into moments of fragility as his perspectives on love and commitment are challenged. Powley matches McArdle's energy as Annie, crafting a nuanced portrayal that skillfully challenges the audience's empathy as her character's personal desires lead her astray.

While not all performances are equally balanced, Webster's skilful direction and McArdle's magnetic presence hold the production together, ensuring that the whole flows coherently. The ensemble brings a playful energy to their roles, providing a delightful contrast to the more tense and dramatic moments. This interplay between levity and gravity keeps the audience engaged throughout.

Peter McKintosh's set design and Richard Howell's lighting offer a beautiful mid-century feel, bathing the stage in electric blue with contrasting citrus colours. The lighting plays a significant role in shifting time and place, becoming almost a character in its own right. However, there's a slight disconnect in the production's approach to period authenticity. While costumes allude to the 1980s, there's an underlying modern sensibility that can be somewhat disorienting.

Webster's direction keeps the pace brisk and the tension palpable, allowing Stoppard's razor-sharp dialogue to shine. The production excels in balancing the play's intellectual discourse with its emotional core, ensuring that the characters' personal struggles remain as engaging as their philosophical debates.

Notably, the production avoids falling into a simplistic debate on gender roles, which can often happen when examining heterosexual relationships. Instead, it places the characters on neutral territory, allowing their individual personalities and choices to drive the narrative rather than predetermined gender expectations.

The production doesn't shy away from the play's more challenging aspects, including its exploration of infidelity and the potential excusability of Annie's actions. Instead, it presents these moral quandaries with nuance, inviting the audience to wrestle with their own beliefs about love, commitment, and the nature of "the real thing".

While the play's examination of marriage and fidelity may feel less revolutionary than it did in 1982, the questions it poses about authenticity in art and life remain strikingly relevant. Stoppard's exploration of what is real and what is performance feels particularly poignant in our current era of curated personas and virtual relationships.

The Real Thing at The Old Vic is a testament to Stoppard's enduring brilliance and the power of thoughtful, well-executed theatre. It's a production that engages both the mind and the heart, leaving audiences with plenty to ponder. As we navigate our own relationships and creative endeavours, we're left to consider: What, indeed, is the real thing, and how do we recognise it when we find it?

**** Four stars

Reviewed by: Stephanie Osztreicher

The Real Thing plays at The Old Vic Theatre until 16 October, with tickets available here.