In 1964, the Broadway stage witnessed a collaboration between two of the most legendary actors of all time, Sir John Gielgud and Richard Burton. Gielgud was one of the greatest thespians of his era and his Hamlet remained unrivalled until it was surpassed by Larry’s (Sir Lawrence Olivier) performance in the film adaptation. Besides being married to Elizabeth Taylor who was then considered “the Taylor Swift” of that time, he had a reputation as a rebel.
These two personalities and legends could not have been put together in one rehearsal room without setting off fireworks that will serve one purpose or burn down everything else. As such, there were also books written about this production by two actors participating in it. The latest play produced by National Theatre Live series is directed by Sam Mendes namely Harry Potter and The Cursed Child script developed by Jack Thorne.
This indicates that Thorne had plenty of source materials to pick from. Some actors also secretly recorded some rehearsals including a final rehearsal session between Sir John and Burton. A lot has been said about lostness among performers, which can be traced back to Gielgud’s instructions paradoxical nature of his leadership style or creative conflict.
Even though they are different types of characters, there is genuine respect existing between these two men, Johnny Flynn (as Burton) hired Mark Gatiss (as Gielgud) for the job (apparently after making a bet with Peter O’ Toole on whether Sir Lawrence would make it to London or not). It was necessary for Gielgud to revive his waning career and restore confidence hence Burtons’ future performance mattered. And neither can afford letting it fail because their careers would suffer dire consequences.
Generally speaking plays about plays don’t impress me much they tend out to be self-gratifying stories involving typically self-indulgent characters called actors or directors who come out with philosophical speeches about human nature as if they were the counselors in a Kellogs factory demanding for changes that have more lines on them. Besides, staging is also cramped physically. Rehearsal places are pretty dull.
However, such contrasting characters aiming at one goal but from completely different starting points make a most dramatic mix.
The stage switching between a bare rehearsal room, Gielgud’s sparse office, cheap hotel room and Burton’s luxurious one makes Mendes’ direction and Es Devlin’s staging particularly good. I like that scenes from the original play are interspersed with rehearsal scenes to give all cast members some stage time away from the main conflict.
Both leads give masterclass performances; neither of them can take your eyes off for a moment. In both cases Mark Gatiss as John Gielgud and Johnny Flynn as Burton really get right into their characters with sledge hammer impact. Either way Gatiss has taken his physicality of Gielgud to another level and literally become lost in the role.
Flynn has the roguish charm and intensity of Burton, which is a complete mess of contrasts. The way he speaks and his tone are typical of Burton. (His poor performance can be detected only by the most talented actor who can see the boundaries.)
I did not understand this scene at all until I read Richard L Sterne’s secretly recorded final rehearsal of them playing it, in hiding. This was a sort of discussion that started process in which I do not know what was overheard because it is very much like they would talk about their fathers but then again it just so happened that way. But even Willie played with timelines and facts for dramatic impact. However, the ending is one or two scenes too long as it seems to want to cement the resolution. Nonetheless, despite its almost Hamlet-like length, it does not feel overly long.
The support cast are very good, but often appear too focused on projecting rather than characterising themselves; they also suffer from being beneath two great characters. Tuppence Middleton plays Elisabeth Taylor excellently as well with some great lines delivered by her. Her breakfast with Gatiss is a great comic scene.
Hamlet play revolves around a character full of uncertainty and inconsistencies similar to those found in both Burton and Gielgud. He is one toughest character on paper to get right hence this production features twp such characters But when you give an excellent director two splendid actors playing two intriguing personalities trying to figure out a Danish enigma, you get incredible theater that blows your mind away!
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