Michael Grandage has a remarkable track record of West End success and of attracting the very best talent to his productions as well as tackling fascinating topics in highly theatrical staging. His latest production Orlando brings Emma Corrin back to the West End (after her success on video in the Crown and My Policeman) in a sparkling adaption by Neil Bartlett of Virginia Woolf’s 1928 novel. It is a highly engaging and fast-paced exploration of human sexuality and what it is to be a man, or a woman combined with an extraordinary rapid journey through British history from the time of Queen Elizabeth (1596) to the twentieth century and revelling in its meta theatricality as it explores the evolution of theatre and spoken word. It reminds us that “all the world’s a stage and all the men and women are merely players”, in this case, Orlando seems to get stuck as a lover for four hundred years without ageing.
Brilliantly reminding us that this is theatre is Mrs Grimsditch, magnificently played by Deborah Findlay, Orlando’s servant who accompanies the character on their journey, assisting with costume characters (“I just do wardrobe”) and regularly punching through the fourth wall with her asides and observations. She adds a welcome dose of reality and comedy to this otherwise serious critique of the role of gender in society and keeps us on track while providing the best moments of the production.
Orlando, later Lady Orlando, is played by the incandescent Emma Corrin who glides easily between being a male and a female persona and back again over the four-hundred-year time span. A curious androgynous figure is neither overtly male nor female, their sexuality being presented by the magnificent costumes they wear. There is a smouldering sexuality behind each of the meetings Orlando has whether being propositioned by Queen Elizabeth I (Lucy Briers), rejecting three Jacobean suitors Clorinda (Oliver Wickham), Favilla (Debra Baker) and Euphrosyne (Akuc Bol), meeting the multilingual Sasha (Millicent Wong), rejecting a marriage proposal from Harriet (Richard Cant), going to bed with Nell (Millicent Wong), being lusted after by the Sea Captain (Debra Baker) and falling for Marmaduke (Jodie McNee) in “will they, won’t they” moments of explored desires.At the same time, the passage of time reveals what it was to be a woman in society over time from when they were not allowed on stage nor able to inherit to Victorian Times (“when it was a waste of time being a woman”) through to today. Orlando constantly asks, “Who am I ?” and is challenged to express themselves by a chorus of nine identically dressed Virginia Woolfs who watch over their creation’s progress through time. At times their literary references from different voices become overwhelming and hard to follow and the revelation that the author drowned with “stones in her pockets” comes with something of an unexplained shock and change of tone.
The production is magnificently staged by Peter Macintosh on an open stage with all the props visible as we enter the auditorium which then artfully recreates the period with the simplest of dressing and costumes changes with a stunning entrance for Queen Elizabeth, a magically ethereal frozen river Thames, a joyously dramatic banquet scene, simple bedroom scenes and a grand restoration and period drapes and back clothes. It is a constantly changing picture which with the help of Mrs Grimsditch easily sets the scene and the time. The lighting by Howard Hudson and the music by Alex Baranowski enhance the atmosphere wonderfully.It will help if you know the original book which must have been ground-breaking when it was written but Michael Grandage’s excellent direction and the creative team's wonderful staging create a perfect platform for Corrin to shine in an effortless gentle portrayal that keeps you engaged and curious about what will happen next in a production that will surely win nominations for Awards.
Review by Nick Wayne
Rating: ★★★★
Seat: Stalls, Row M | Price of Ticket: £69.50
