One Flew Over the Cuckoo’s Nest
Old Vic, London
★★★★★

THIS excellent production of the 1960s classic One Flew Over the Cuckoo’s Nest grips from the start. Clint Dyer’s direction brings a new twist to the story, with a predominantly black cast and explosive energy throughout.

The play starts with an allusion to Congo Square, New Orleans — a place of meeting for trade and expression for enslaved African Americans. A place that marked histories of resistance and culture in America.

In the play, this very much comes out in the character of native American Chief Bromden (Arthur Roan), whose past is subordinated in the disciplinarian atmosphere of the psychiatric hospital. He hides behind a pretence of deaf and dumbness, as a defence mechanism. It is only the anarchic antics of Randle P McMurphy (Aaron Pierre) that bring out the truth and Bromden’s story of indigenous struggle.

Pierre gives a virtuoso performance in the role made famous by Jack Nicholson in the 1975 film of Ken Kesey’s book. He is always on the edge, provoking and challenging what he sees as absurd rules. Pierre creates a bustling, energetic, aggressive character but also manages to bring out an underlying vulnerability. There is no utterance, however, of the classic line from the film: “Medication time!”

The anarchic intent of McMurphy comes up against the authoritarian rule of Nurse Ratched (Olivia Williams), the two vying for control of the group. The power struggle is fascinating as it unfolds.

There is, though, much humour to lighten the load in a play that finally ends in tragedy.

Strong tones of misogyny also flow throughout the play with, for instance, McMurphy’s declaration that he “fights and fucks.” The other characters are variously “victims” of overbearing mothers and neglectful wives.

It is important to remember that Kesey’s book came out in 1962 — a different time. And misogyny remains, of course, alive and well today.

Dyer’s direction keeps the whole play flowing with a real energy. The clever setting in the round means that the audience almost feels part of the play — as fellow patients in the hospital.

Ben Stones’s minimalist set, with a white and green tiled floor and perimeter marked with radiators, brings out both that sense of constraint and the potential power to break out.

This is an excellent adaptation of Kelsey’s book, with themes of power and control amid stifling group dynamics to the fore.

Well worth seeing.

Runs till May 23. Box office: 0344 871 7628, www.oldvictheatre.com