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A CurtainUp 
London Review
London ReviewDeath and the Maiden
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We cannot use these methods. — Geraldo Escobar
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Thandie Newton as Paulina Salas (Photo: Ellie Kurttz) |
Dorfman’s play is an exposition of what might happen if the decision as to the punishment of the torturers were to be left in the hands of the tortured. In their beach house Gerardo Escobar (Tom Goodman-Hill) invites a doctor who has helped him with a puncture on his car to stay the night. The visitor is Dr Roberto Escobar (Anthony Calf) and from an adjoining room, Gerardo’s wife Paulina Salas (Thandie Newton) hears the voice of the man who 15 years ago was her torturer and rapist. He played Schubert to her while she was abused, with the effect that she cannot hear Schubert’s music without associating it with those traumatic events.
Escobar has just received the news that he has been selected by the government to oversee the Information Commission, the "truth and reconciliation" type hearings for the government after 17 years of dictatorship. But his wife has her own ideas as to what might reconcile her to her hurtful past and one of the men responsible.
Death and the Maiden is a well crafted psychological thriller with much of relevance for today, as all around the world there is oppressive behaviour from those in power against their political enemies. Director Jeremy Herrin gives us a straightforward production in Peter McKintosh’s set, a living room/kitchen with decor touches of South America, a multi coloured ethnic blind hanging with the sound of crashing waves from the ocean. In the final act the costumes are by Giorgio Armani lest we forget what the salary of a government commissioner is!
Tom Goodman-Hill is solid as the new commissioner Gerard but weak in the face of his wife’s demands for summary justice. The commission is only looking at those who died, not the living victims like Paulina Salas. Anthony Calf wheedles and accuses her of being schizoid and there is in our mind some room for doubt as to his guilt because Paulina was blindfolded during her torture and never saw her interrogators and tormentors. The role calls for Paulina to knock out Dr Miranda, drag him into the kitchen and get him into a chair so that she can bind his legs to the chair legs. I did not believe that she would have the strength to move this solid man into the sitting position on a chair no matter how determined she was.
Thandie Newton is inexperienced as a stage actress in what is a complex role but she gives a good performance rather than a great one, which is moving in places, but she will undoubtedly grow in confidence as the run progresses. I think for the play to work well there has to be moments when we might actually think she was deranged and I’m not sure this is conveyed.
Death and the Maiden is an argument against Biblical retribution because it reduces the dignity and integrity of the victims to the methods of their torturers. For this play to open in London in the week that the world sees the indignities doled out to the dying General Gadafi is pertinent.
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| Death and the Maiden
Written by Ariel Dorfman Directed by Jeremy Herrin Starring: Thandie Newton, Anthony Calf, Tom Goodman-Hill Design: Peter McKintosh Lighting: Neil Austin Music: Stephen Warbeck Sound: Fergus O’Hare Running time: One hour 40 minutes without an interval Box Office: 0844 871 7627 Booking to 21st January 2012 Reviewed by Lizzie Loveridge based on 25th October 2011 performance at the Harold Pinter Theatre (formerly the Comedy Theatre), Panton Street, London SW1 (Tube: Covent Garden) |
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