Review: 'Must-see play is towering triumph for Rugby Theatre'

With awards season in full swing, it’s a fine time to stage a production of a play which, along with the subsequent film, has a glittering collection of trophies to its memorable name.

After the joy of panto, this is a bold, ambitious move – the kind that for many theatres is made possible by the rewards of the festive frivolity.

Director Malcolm Fawcett describes a potential 50-year wait to get the necessary licence to perform Edward Albee’s masterpiece – and the result is a towering triumph for Rugby Theatre, showing once again its determination to create something special for its audiences.

It’s not an easy watch – for the intensity of the wordy script and a total running time of just over three hours – but it is well worth the effort.

That script works at so many levels – relationships crumbling for two couples in a late-night gathering against a backdrop of various illusions framing their interactions – but the first instinct is to celebrate the remarkable performances of the cast when the script has so much to it… it’s a lot of words for a gang of four.

With a play of this repute, it’s easy to think it’s not possible to make a bad job of it – but there’s been enough dodgy Shakespeare produced (elsewhere, of course) to be certain there’s no guarantee of success.

But with another brilliant and wonderfully-lit Henry Street set, the director and cast have produced something that sustains the tension throughout the performance.

The casting is spot on and the dynamic of the older couple – Rayner Wilson as Martha and Nigel Westlake as George – is utterly believable, while the younger pair – Jack Sargent as Nick and Sophie Wood as Honey – provide a distinct contrast, with a quirky and youthful charm.

Three of the four are new to Rugby Theatre but it’s not through brand loyalty that it’s the returning Rayner Wilson who catches the eye – she sets the bar high from her very first entrance, giving the others so much to work with.

While some classics start to feel like quaint, period pieces that it’s good to pay occasional deference to – this still has something special and shocking about it, elevating it to the level of must-see production.

Richard Howarth