In a recent interview, theater critic Susannah Clapp shared her thoughts on two captivating productions currently running in London: John Galsworthy’s “The Forsyte Saga” at the Park Theatre and Shakespeare’s “Othello” at the Royal Shakespeare Theatre in Stratford-upon-Avon. Clapp offered her insights on both performances, emphasizing their thematic depth and character portrayals.
When discussing “The Forsyte Saga,” Clapp referenced Galsworthy’s status as a Nobel Prize-winning playwright, noting that his work is often overlooked despite its historical significance. “I entered the theater expecting a display of fabric and furrowed brows,” she says, “but the new adaptation by Shaun McKenna and Lin Coghlan proves to be far more disruptive.”
A pivotal moment in the production is “The Rape,” an event many audiences remember from past televised versions. Clapp explained how Soames Forsyte, portrayed as a respectable but ultimately hateable character, asserts ownership over his wife, Irene. “This act reveals the lethal nature of a family defined by money and secrets,” she noted. However, Clapp highlighted that the adaptation also humanizes Soames, showcasing a complex character capable of genuine emotion.
The narrative is introduced by Fleur, Soames’s spirited daughter, played by Flora Spencer-Longhurst, who reflects on the family’s history from 1886 to 1927. Clapp found the choice to present such a significant chronicle in an intimate London theater refreshingly counterintuitive. The director, Josh Roche, alongside designer Anna Yates, utilized a minimalistic set, relying on lighting by Alex Musgrave and sound design by Max Pappenheim to evoke changes in time and place.
The play is expansive, allowing audiences to absorb the generational dynamics at play. Clapp was particularly impressed by Joseph Millson’s portrayal of Soames, describing it as a mix of dampened emotion and rigidity. Jamie Wilkes stood out as the awkward family member and suitor, adding a layer of charm to the ensemble.
On the other hand, Clapp shifted gears to discuss “Othello,” where she emphasized the female perspective. Referring to Harriet Walter’s new book, “She Speaks!,” she contemplated Desdemona’s lost potential and her evolution throughout the narrative. Juliet Rylance’s portrayal of Desdemona struck Clapp as both intelligent and steady, while Anastasia Hille’s Emilia brought depth to the production with her powerful lines.
Clapp pointed out a contrasting dynamic between John Douglas Thompson’s commanding Othello and Will Keen’s nuanced Iago, remarking on their lack of emotional connection that diluted the tragedy’s weight. “It’s almost as if they are from different planets,” she observed. The staging, described by Clapp as grand yet puzzling, did not fully support the narrative’s emotional arc.
In summary, she rated the two productions, giving “The Forsyte Saga” four stars and “Othello” three, underscoring the strong performances and thematic explorations that resonate deeply with audiences today. “The Forsyte Saga, Parts 1 and 2” runs at the Park Theatre, London, until December 7, while “Othello” is on stage at the Royal Shakespeare Theatre until November 23.
