The Real Thing
The Old Vic, London

THE latest production of Tom Stoppard’s 1982 play, The Real Thing, does not disappoint.

Impressive performances from James McCardle as Henry and Bel Powley as Annie keep the audience gripped, and the slick scene changes, bring a minimalist 1980s feel to proceedings. The strong blue of the latter part is in some way reflective of the Thatcherite timbre of the times.

The play focuses on people striving to find the real thing or true love. There is, however, much infidelity along the way. The play is set in the world of the theatre. Henry is a playwright and Annie and Max are actors. 

Annie and Max are married at the start. He is playing in Henry’s play House of Cards. Henry is married to Charlotte (Susan Wokoma). Affairs follow on all sides, Charlotte has a variety of partners and Annie ends up with Henry.

Annie also becomes involved in other liaisons, including with the soldier and protester, Brodie, who she meets on a train. Then with Billy, who enters as part of a play about Brodie. But the real thing is supposedly with Henry. Rowlie gives an excellent performance as Annie, really getting to grips with the changing nature of her character, and questioning whether Henry really is the real thing. 

Henry goes from a brash character, the object of desire, to a somewhat tragic one by the end.

There is much humour, and often around Brodie. For Henry words are sacred and Brodie can’t write, and the wit and twists and turns of Stoppard’s script keep the audience engaged throughout.

The play, however, has dated, and appears very much stuck in the 1980s. For example, there is great play made of Henry appearing on Desert Island Discs and what music he will pick: whether his choices represent what he really likes or are merely tunes that will enhance his image. Desert Island Discs was a far more prominent feature of the popular scene in the 1980s than it is today, despite probably occupying the same billing on BBC schedules then as it does now.

This feature also underlines the very middle-class nature of the play. It reminds those who lived through the ’80s of a feeling then that we really have had enough of dramas about such people and their various angsts.

Overall, however, this is an excellent production. Director Max Webster ensures a slick interaction between the scenes, of what has popularly been called a play within a play, and a good momentum is maintained throughout, while Stoppard’s great script delves into so many emotions in a humourous yet serious insightful way.

Definitely worth seeing in this, its latest dramatic interpretation.

Runs until October 26. Box office: 0344 871 7628, www.oldvictheatre.com