THE CHILDREN'S HOUR proves still relevant

THEATRE: Comedy Theatre, London
DATE: 17-3-2011
TIME: 19:30
WITH: Ellen Burstyn, Keira Knightley, Elisabeth Moss, Carol Kane, Tobias Menzies, Bryony Hannah, Nancy Crane, Lisa Backwell, Amy Dawson a.o.
DIRECTOR: Ian Rickson

Ian Rickson’s searing West End revival of “The Children’s Hour” makes a strong case for the relevance and emotional power of this Lillian Hellman play from 1934. Especially with an Anglo-American cast that could hardly be bettered led by the likes of Keira Knightley, Elisabeth Moss and the legendary Ellen Burstyn.

The play is set in a New England boarding school for girls led by Karen Wright (Knightley) and Martha Dobie (Moss). One of their students, Mary (Hannah), is the source of constant problems because of sociopathic tendencies. When Mary feels she has been punished one too many times she tells a vicious lie to her influential grandmother Amelia Tilford (Burstyn). Mary claims to have witnessed Karen and Martha having sex. The lie quickly spreads and tragically destroys the school and lives.

The daring original production was an instant Broadway hit, where it ran for two years. It was, however, also controversial because of the lesbian subject matter. The play was  therefore banned in several American cities like Boston and in the UK even until 1960. In 1961 the great William Wyler turned it into a reasonably successful Hollywood film starring Shirley MacLaine and Audrey Hepburn. Now the production is a hit again thanks to the casting of its two leading ladies, who fortunately prove to be  not just stunt casting but more than up for the challenge in making the play speak to today's audience.

Ian Rickson has staged his production on a white clapboard set by Mark Thompson. It contains a towering ceiling and prominent window, which conjures up associations with church. In this virginal New England setting Rickson has also devised a clever new prologue in which the schoolgirls are reading some ‘piquant’ passages from Shakespeare’s Antony & Cleopatra. A feeling of sexual hysteria pervades the air and perfectly sets the scene for the tragedy that is about to unfold.

The director, who recently scored big time in London with Jerusalem (which is about to open on Broadway), has to be commended for eliciting excellent performances across the board. Carol Kane, two-time Emmy winner for the classic sitcom Taxi and Oscar nominee for Hester Street, gives a very eccentric turn. Although it is highly stylised it adds welcome comic relief at the start. It also feels appropriate as her nutty character has delusions of grandeur on the stage.

 Carol Kane and the not so innocent school girls

Just as stylised and effective is Bryony Hannah’s (who seems to have cornered the market on obnoxious kids as she played one in Earthquakes in London as well) turn as the bad seed Mary. Her controversial performance has been dividing critics and audiences, because her character is so ostentatious and obviously malignant that some question how credible it is that everyone believes her. Personally I had no such reservations and was thoroughly taken in by Hannah’s wicked orphan, who seems to lash out because she is very damaged. She bullies, blackmails, lies, manipulates and at one point even sticks a pencil through a girl’s hand. Hannah is unafraid to make Mary blindingly hateful, but also very recognisable.

Ellen Burstyn - who has had a remarkable career (winning an Oscar, Golden Globe, Tony & Emmy) including the films The Exorcist and Requiem for a Dream – almost walks away with the show. She is astonishing as a woman who is in denial of her sons death and therefore easy prey for her beloved granddaughter’s lies. Every one of her scenes is a master class in acting, particularly in the way she reacts. Every thought that goes through her Amelia’s mind comes across with great precision and economy. She even manages to make the interval cliffhanger suspenseful, even though it is structurally not ideal, just by listening on the phone. It is a magnificent performance by an 82 year-old pro (who does not look it), which is to be treasured.  

 The arresting Bryony Hannah & Ellen Burstyn

Because of the flawed structure (it was Hellman’s first play) the two leading characters only gain momentum late in the production. Although the second half, which includes a suicide, might be perceived as too melodramatic by some, the two famous thespians make it work. Keira Knightley is a surprisingly interesting force on stage with a Katharine Hepburn-esque accent she is an intriguing paradox of fragility and resilience. She has some strong scenes, including the one where she calls off her engagement to Tobias Menzies’ (Rome) fine doctor and the wordless, heavy breathing final scene which ends the production on an intense note.

 Knightley & Tobias Menzies

Elisabeth Moss, best known for the critically acclaimed tv-series Mad Men, is also in excellent form. She portrays an extremely angry and repressed woman and gradually makes you understand why as she comes to terms with her sexuality. There is an intense focus in the eyes, a gorgeous stage voice and when she says, “I’m a freak. I’ve got eight fingers!” Moss harrowingly gives voice to the frustration of anyone who has ever been different and ostracised for it.

 "I'm a freak. I've got eight fingers!"

Rickson and his superb cast make The Children's Hour feel very timely. Unsubstantiated rumours by damaged people still ruin lives in general and homophobic bullying and suicide in particular, especially among American teens, still occur only too often.