Yet Mike Bartlett, the mastermind writer of that eerily prescient 2014 drama King Charles III (who also wrote and created the BBC TV series Doctor Foster), struggles to shape these themes into a satisfyingly rounded whole peopled with characters that convince as living, breathing human beings rather than concepts on a page. This, unfortunately, was also a problem that bedevilled Unicorn, his West End drama from earlier this year about a couple who embark upon a live-in threesome.
square THEATRE REVIEWS Lily Allen paints a furious portrait of self-loathing in Hedda
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Ruth, as played with lovely initial ebullience by Morahan, is a classic portrait of the moneyed middle classes dreaming of a countryside idyll, whereas Lip – ironically nicknamed because of his taciturnity – is a wild man of the woods-type philosopher. Or as Milly (Nadia Parkes), Ruth’s twentysomething former stepdaughter – yes, the relationships are complex and frustratingly under-explored – puts it, he’s a “passive-aggressive Worzel Gummidge”.
Hattie Morahan as Ruth in Juniper Blood (Photo: Marc Brenner)
James Macdonald’s production, which takes place tiringly with the house lights up full all the time, is heavy with silences and pauses, some of which go on for minutes. As, unwisely, do various speeches, with characters speaking in the full paragraphs of complex textbooks, rather than any kind of recognisably conversational language. However Troughton intrigues as the increasingly monomaniacal Lip; this man is either a visionary – or entirely deranged.
To 4 October (020 3282 3808, donmarwarehouse.com)
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