Get ready for a captivating tale of artistic passion and personal battles! George Bernard Shaw, the legendary playwright, and Mrs. Patrick Campbell, the original Eliza from Pygmalion, engage in a fascinating exchange that will leave you intrigued.
During World War II, a young Jerome Kilty, then serving with the US Army in London, had the courage to approach the renowned Shaw. The playwright, in his eighties, warmly welcomed Kilty, and little did they know that this encounter would inspire Kilty's most significant work.
But here's where it gets controversial... Shaw's plays, once a staple of the repertory, have faded into the past. Why should we revisit their lively debates? Well, this revival, starring Rachel Pickup and Alan Turkington, brings their unique personalities to life, showcasing the delicate balance between romance and rivalry.
Act One focuses on the challenges of bringing Pygmalion to the stage. Campbell's famous line, "I will be your pretty slut," sets the tone for a flirtatious yet intense contractual negotiation. Shaw's temper flares, and he retorts, "I will sit here and howl." Despite initial setbacks, including Campbell's struggling Cockney accent and Shaw's demanding direction, the show ultimately succeeds.
As the story progresses, their relationship takes a turn, especially when each tries to capitalize on their connection through plays or memoirs. Shaw's curiosity leads him to witness his mother's cremation, and his pacifism fails to console Campbell when she loses her son to the war, instead fueling his anger.
And this is the part most people miss... A modern theater artist might approach this material with a different lens, emphasizing Campbell's psychological acuity rather than her diva-like behavior. Stella Powell-Jones' production has its moments, capturing the tenderness of uncertain letter exchanges, but it also has its challenges, with some scenes feeling strained.
Pickup and Turkington, dressed in calico with a cartoon of Shaw on Turkington's shirt, move gracefully amidst Tom Paris' design, featuring cloud-like curtains. Pickup's chandelier earrings shake with outrage, yet she finds stillness in old age, while Turkington, hands in his pockets, portrays a sensitive and easily hurt artist.
Desire lingers in their interactions, with Campbell declaring, "I absolutely refuse to play any longer the horse to your Lady Godiva!" Are they just "lustless lions at play," as she suggests? These two artists, despite their cantankerous ways, are deeply captivated by each other's creative minds.
So, what do you think? Is this a refreshing take on a bygone era, or does it fail to capture the essence of these iconic figures? Share your thoughts in the comments and let's spark a discussion!
