(3 / 5)
Juliet Stevenson outstanding in Robert Icke’s exposure of populism
Dr Wolfe, played by Juliet Stevenson, prides herself on being logical and making medical decisions based on facts in a world of irrationality.
Hildegard Bechtler’s stark set is quite a contrast to the detailed oppressiveness of her design for Rosmersholm. Here you have bare pale walls with only a table and benches in the middle, very clinical and hospital-like but also reflecting the cool rationality of the main protagonist.
On this occasion she’s treating a 14 year old girl who has botched a self administered abortion and contracted sepsis. She’s going to die and Dr Wolfe wants her to die peacefully. A Catholic priest turns up expecting to give her the last rites but the doctor doesn’t want her patient disturbed.
Thenceforth this sparkler of an incident turns into a stick of dynamite as the doctor is attacked on all sides: by her colleagues who want her power reduced, by campaigners who seize an opportunity for publicity, by internet trolls who want to vent their anger.
An online petition condemning her gains tens of thousands of signatures from people who know nothing of the case. An anti-abortionist attacks her even though she didn’t carry out an abortion. People abuse her and accuse her of murder. Her Jewish parentage is invoked as a reason for her anti-Catholic behaviour.
Much of the play is about a rational person trying to maintain her position while being besieged by irrational, prejudiced people with their own agendas.
Robert Icke’s clever use of gender and colour blind casting
Writer and director Robert Icke cleverly uses gender and colour blind casting to wrong foot the audience. We don’t see why the doctor should be accused of prejudice until we realise that someone we thought was white was black or someone we saw as a woman is a man, thus underlining that it is the accusers who are prejudiced.
The doctor is drawn into defending herself and, under pressure, she reveals some prejudice in her own behaviour which leads to irrationality, but in unexpected ways.
Take language. Her pride in her rationality is illustrated by her obsession with the correct use of English. She picks someone up for saying ‘literally’ in a context where it means precisely the opposite. Later she is forced to acknowledge that language is fluid and subjective, when her enemies pick on a seemingly innocuous phrase as being racist because she used it against a black person.
She also freely admits that her practice of medicine is only the sum of today’s knowledge and could be seen as ignorant and like witchcraft in the future.
The original play on which The Doctor is based is Professor Bernhardi by Arthur Schnitzler. Written a hundred years ago it was a warning against the rise of populism and its use of people’s prejudices as a weapon. These days the tools may be different- social media and TV- but Robert Icke’s new version suggests the tactics of populists remain the same.
Juliet Stevenson gives a five star performance
The Doctor shows how frighteningly easy it is for the rational can be submerged by the irrational. Our protagonist gradually breaks down as she is engulfed by a nightmare. Juliet Stevenson gives a five star performance as she descends from the ramrod stiff leader at the opening through anger to desolation and tears.
The problem for me was that the plot seemed contrived. I didn’t believe that events would turn out this way. Would a senior doctor in dementia take on someone with sepsis from A&E? Would a TV debate really include an anti-abortionist when abortion was not the issue? Add to which, the other characters seemed like ciphers there simply to make a point.
The exception was the troubled young person staying with Dr Wolff and who has her private life exposed. only the other week The Sun published a repugnant story which used the name of famous cricketer Ben Stokes as an excuse to write about his parents and a family tragedy that happened before he was even born. Ria Zmitrowicz was convincingly nervous and vulnerable as she placed her trust in her substitute mother.
A lack of respect for his audience?
I was disappointed in one element of Robert Icke’s direction. There is a point where Juliet Stevenson sits on the front of the stage and has an important confrontation with another character. This was not visible from the Circle where I was sitting. I have worked in a 2000 seat theatre where the directors would go to the back and sides of each of the three levels to ensure that the actors could be seen. It would be surprising if, in a theatre as small as the Almeida with 360 seats and two levels, Mr Icke was unaware that hundreds of ticket buyers would be unable to see this crucial moment.
Remembering the theme of this play, I will admit that I don’t know all the circumstances and I’m not a director. Nevertheless I find it difficult to believe he couldn’t have moved this scene upstage a little. I’m not going to start a Facebook petition or a Twitter campaign but he does appear to be showing a lack of respect for his audience.
Robert Icke is a hugely talented director and while his final production as associate director of the Alemeida Theatre may not be his best, The Doctor is an imaginative, thought provoking work that generates a powerful performance by one of our finest actors.
The Doctor is performing at the Almeida Theatre until 28 September 2019 before transferring to the Duke Of York’s Theatre for a limited run from 20 April 2020.