Orson's Shadow, theatre review: Titanic egos collide in play for theatre nerds

Though this play contains moments of sadness and irreverence, it lacks a potent story to propel it, says Henry Hitchings
Past glory: John Hodgkinson captures Orson Welles in decline
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Henry Hitchings8 July 2015

Austin Pendleton's play is one for real theatre nerds. Set in 1960, it pictures Orson Welles in pill-popping decline. John Hodgkinson captures the spirit of a figure once memorably described as “the youngest living has-been”, who perks up when critic Kenneth Tynan engineers an opportunity for him to direct Laurence Olivier (Adrian Lukis, in a well-observed mix of showiness and anxiety).

The two masters must tackle Eugène Ionesco’s absurdist piece Rhinoceros — no small irony, given how thin their skins are. As rehearsals progress, we witness the repeated collision of their titanic egos. Olivier is in the midst of leaving Vivien Leigh (a vampish Gina Bellman) for Louise Ford’s more dignified Joan Plowright, and in fact all the characters are trying to shrug off the past.

Director Alice Hamilton ensures that the backstage comedy is tangy, and the pick of the performances is Edward Bennett’s Tynan — urbane and perceptive, yet stifled by the mighty voices on either side of him.

But while the play contains rich moments of both sadness and irreverence, it’s a patchwork of old anecdotes, gossip and flights of fancy rather than being propelled by a potent story.

Until July 25 (020 7407 0234, southwarkplayhouse.co.uk)

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