Bath Ustinov Studio – until 23rd September 2023
Reviewed by Lucy Hitchcock
4****
This sensitively witty and high stakes drama from the writing of Jean-Philippe Daguerre is here to show Bath why it is so deserving of its awards. The French play, written in 2016 has been translated and is stunningly compelling.
We follow the trials of Joseph Haffmann, a Jewish jeweller living in Paris under Nazi Occupation in 1942. He decides to give his jewellery shop over to his long serving employee Pierre Vigneau in order to keep it running and to sleep in the cellar for safety until the war is over, but Pierre bites back with a proposition of his own. Both himself and his wife, Isabelle, long for a child but are unable to conceive, so Pierre asks Joseph to enter into a sexual relationship with his wife, in order to help their dreams of a family come true. With a star studded cast, Ciarán Owens as Pierre, Nigel Lindsay as Joseph and Lisa Dillon as Isabelle, this is a great trio that drives the plot forward at just the right momentum whilst also providing excellent comedic breaks. Nigel Lindsay was an absolute triumph, with such empathy and conviction at portraying a Jewish character – I was enthralled with every movement and breath he took.
The twist in the show, is that Pierre befriends Otto and Suzanne Abetz (Alexander Hanson and Josefina Gabrielle) who are the German ambassadors of Paris. Inviting them to dinner and befriending them opens the family up to the Nazis and puts all their lives at risk. These two were incredible- their mannerisms and comedy were fabulous but Hanson embodied the fear and pride that you saw of the Nazis; It was thrilling to watch his performance. This tight cast was inspired and perfectly cast by Serena Hill. With a creative team including Set and Costume Designer Paul Wills; Lighting Designer Peter Mumford and Sound Designer & Composer Giles Thomas, this was a well oiled machine. My only criticism, is that the transitions from Joseph’s cellar, to the upstairs freedom of the house was quite distracting at the beginning, and I felt that I was taken out of the performance for these brief moments during the scene changes. This might however, have something to do with the intimacy of the Ustinov and how close to the stage each seat is, making sure you sense every aspect of the performance.
This truly is a masterpiece, one that I will be rebooking, as I was completely unaware that it is based on a true story. I will have to re watch, and knowing this, be able to gain more of a sense of the horror that people had to live with during these occupied times.