WITHNAIL AND I
The REP, Birmingham, Tuesday 14th May 2024
Bruce Robinson’s film from 1987, which he wrote and directed, quite rightfully became a cult classic, with its depiction of decadence and squalor at the end of the 1960s. Now, Robinson adapts his own screenplay for the stage, bringing to my mind two initial questions: Will the fans be satisfied? Will newcomers get it?
First and foremost, I want to declare my undying (and unrequited) love and adoration of Robert Sheehan, one of the most exciting actors of his generation. Here he takes on the named title role, the part originally created by Richard E Grant. It’s a big coat to fill. Sheehan doesn’t even attempt to give us a Richard E Grant impersonation. What would be the point of that, other than to reduce the enterprise to play-acting? Sheehan adopts the plummy tones and his delivery of those famous lines of dialogue have his own rhythm and emphasis. Being on stage rather than on screen, the performance by necessity has to be larger. Sheehan’s Withnail struts and frets his hour upon the stage, throwing himself around with verve and gusto, posturing for the gods.
This heightened performance style permeates the whole show. The eccentric characters come across as crazier. The absurdity of their behaviour is amplified. Withnail and fellow out-of-work actor ‘I’ (named Marwood in the script but never in the dialogue) played by an excellent Adonis Siddique, share the grottiest of flats in Camden Town. All around them is being demolished, which is symbolic of the end of an era but also foreshadows the coming end of their association.
There is more of Beckett to their domestic scenes than The Odd Couple. Unlike Beckett’s Vladimir and Estragon, our pair of protagonists actually make a move to escape their situation by venturing to a holiday cottage in Penrith.
Siddique is the most ‘normal’ one we encounter, addressing us with moments of poetic narration – even while he’s pissing in a pub urinal. Through I’s eyes we meet Withnail’s Uncle Monty (a marvellously camp Malcolm Sinclair) a hammy old poove with designs on his nephew’s attractive companion. There is spaced-out drug dealer and conspiracy theorist Danny (Adam Young) and an imposing but silent figure, Presuming Ed (Israel J Frederick) who makes a strong and hilarious impression in his brief appearance.
Fleshing out the company are Morgan Philpott, Matt Devitt, Adam Sopp, and Sooz Kempner, each playing a variety of roles and, crucially, forming the live band that plays hits from the period during scene transitions, with Kempner’s searing vocals a big hit of the night.
Director Sean Foley keeps the action flowing, not seamlessly but the music keeps us in the zone while various pieces of furniture glide on and off the stage. A swordfight is wonderfully overacted as the two friends demonstrate stage combat skills they must have acquired at drama school. There is a comedy cat and a comedy chicken. And when the iconic car, a Silver Wraith I believe, makes its first appearance, it elicits as warm a welcome to the stage as any of the characters. Monty’s presentation as a predatory homosexual is as outdated as smoking in pubs, but we laugh along, possibly because he’s so bad at it.
Yes, it’s an extremely funny show, played to the hilt by all and sundry. The film has been described as the funniest tragedy ever made, and the same description is true of the play. It is Withnail’s tragedy that he has wrecked his life with alcohol and substance abuse, born from the frustration of not being able to reach his potential. When (spoiler) I gets an acting job and leaves, Withnail, alone in the rain, recites “I have of late…” from Hamlet. Yes, he’s drunk, but even so, it’s a powerful and moving demonstration of talent gone to waste. So many talented people wind up the same way, and that’s the same today as it was in 1969 and 1987.
Fans of the film will be more than satisfied and newcomers will enjoy the elan of the histrionics on display. Bruce Robinson has enhanced what makes the film so enjoyable.
And the candle I hold for Mr Sheehan burns on undimmed.
☆ ☆ ☆ ☆ ☆
Road to ruin: Adonis Siddique and Robert Sheehan (Photo: Manuel Harlan)