Lyceum Theatre, Sheffield – until Saturday 26th October 2024
Review by Sharon Farley
5*****
Written by multi-award winning French playwright and novelist, Yasmina Reza, 30 years ago, ART remains fiercely relevant even today. It explores the relationship between three friends, Yvan (Seann Walsh), Serge (Chris Harper), and Marc (Aden Gillett), which becomes hilariously strained through differing opinions over a painting. The masterful translation from the original French by playwright and screenwriter Christopher Hampton (When Did You Last See My Mother, Tartuffe, A Dangerous Method) ensures that the comedy sparkles with quintessentially British humour and has won Best Comedy prizes from Olivier, Tony, and Moliere Awards.
Under the excellent direction of Iqbal Khan (Birmingham Rep, Box Clever Theatre Company, RSC) we see the drama unfold as Serge reveals his latest purchase – at great expense – of an original artwork that is almost entirely white. On viewing it, Marc’s traditionalist sensibilities are triggered into an instantaneous and rather blunt derision of the piece. Whilst he is astounded that his dear friend would pay such a high price for it, his wrath is primarily ignited by the language Serge employs in defence of his prized possession when he throws the word ‘deconstruction’ into his description of the white canvas, and Marc makes no effort to mask his simmering contempt. Serge is understandably insulted by this response and a bitter argument ensues. Gillett’s intense performance brilliantly portrays the raw anger we see expressed by many struggling to accept contemporary views, as though the opinion of others is a personal attack on their very being. He is visibly enraged to his core. Gillett has a long history in theatre, touring the world with award-winning performances (An Inspector Calls, A Midsummer Night’s Dream), as well as TV and film roles (Brexit – The Uncivil War, The Crown, The Foreigner), so it’s no surprise his portrayal of Marc is so convincing here. His character has enjoyed a 15 year friendship with Serge, who considers Marc his mentor. This relationship is at the root of the conflict, as Marc cannot accept that his pragmatic guidance should be sidelined for what he considers a pretentious flight into the indulgence of valuing art not for what it is, but for whatever lofty position fashionable opinion elevates it to be.
Marc carries his side of the argument to Yvan’s workplace. This first view of Yvan immediately demonstrates his chaotic but comical nature and his preoccupation with the complex arrangements for his upcoming wedding, an instantly relatable problem. Marc recounts his visit to Serge and divulges his negative opinion of the new painting. Yvan further adds to Marc’s irritation by showing more interest in public opinion of the artist than the quality of the piece. Their conversation raises the question of the purpose of art: should it be appraised for the joy it brings or its function? Their opposing views illustrate the dichotomy between a technical perspective, from Marc as an aeronautical engineer, and an aesthetic evaluation, from Yvan as a textiles designer. We are treated to other reflections of the art world in this production through the Mondrianesque set and chiaroscuro inspired lighting employed to highlight the characters’ internal monologues. When the two reach some common ground, Marc prompts Yvan to go and see the painting, now considering Yvan to be an ally and believing he will be as derisory of it as himself. Serge displays the painting for Yvan with ceremonial grandeur, leading to a concentrated but non committal review from Yvan. His lack of strong opinion on the piece allows Serge to open up and accept the absurdity of the high price paid for it, thus cleverly diffusing any tension that might have arisen. This exchange reveals Yvan as a character adept at holding the middle ground, who places a higher value on his friendships than the righteousness of his opinion.
The casting of Seann Walsh (Live at the Apollo, 8 Out of 10 Cats, The Bystanders) in this role is nothing short of inspired. Anyone familiar with his deeply personal stand up shows, ‘Kiss’ and ‘Seann Walsh is Dead, Happy Now?’, will recognise the desire for acceptance reflected in the part of Yvan. Though relatively new to theatre performance, Walsh takes to this role like a duck to water.
All three characters finally come together in an explosive scene doused in elements of duplicity, betrayal, intolerance, and insult. In this acrimonious exchange, Yvan finds himself desperately trying to diffuse the situation and bring his friends back together, yet ending up bearing the brunt of their anger. The veils are drawn back on where each of them sees themselves within the friendship, and how they are seen by each other. Serge, despite being the progressive voice of reason, is drawn into moving the argument from its source into aspects of the characters’ lives outside of their friendship, disparaging – to great comical effect – the behaviour of Marc’s partner. Here, we see Harper (Call the Midwife, Coronation Street, The War Below) in a more comic light; until now, his character had appeared the most temperate and mature of the three, yet this cool sophistication still breaks down into derisive mimicry when under pressure.
Though the conflict de-escalates and some calm is resumed, we cannot help but feel that the relationships have irrevocably changed. Fortunately, the wonderfully comic writing throughout the performance cuts through the weight of the multi-layered subject matter it encapsulates. The nature of the characters, the rapid escalation of the conflict, and the descent into personal attacks inevitably reflects the divisive themes evident in today’s society that have dominated politics and social media over recent years.
This production and its marvellous casting cannot fail to spawn endless conversation on the fragility of friendship, family, and societal cohesion, as well as providing more than a few belly laughs. Go, you won’t be disappointed.
