Man and Superman

George Bernard Shaw

National Theatre (Lyttelton)

17 February 2015 to 17 May 2015

Review by Amy Holley

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Shaw’s famous social manifestos are left intact in Simon Godwin’s exhilarating, thought provoking production of Man and Superman at the National Theatre, despite the modernisation from its original end of the century setting.

It’s Simon Godwin’s directorial debut for The National and he has started masterfully. In his interview with Emma Freud as part of the NT Live programme, he reveals that he was originally unsure about adapting the play to a modern setting because he was worried how the audience would respond to it. This, he says, is because the majority of George Bernard Shaw’s productions are kept in the Edwardian period. On the whole, the contemporary setting does work well with the action and philosophical debates featured in the play highlighting the universal themes. However, Godwin has the actors using mobile phones, texting, etc. as crucial elements in the play’s action and despite the modern setting the use of mobile phones did stick out like a sore thumb, but this must be because Shaw’s work is intrinsic with the Edwardian and Victorian eras.

It is Ralph Fiennes’ second appearance in the role and it was he who approached the National Theatre with the idea of staging another production of this epically long philosophical social comedy (his first production was in 1996).

Ralph Fiennes captures the energy and humour of Shaw’s irritatingly intelligent Jack Tanner and his love hate relationship with his much unwanted guardian and love interest Ann Whitefield (passionately portrayed by Indira Varma). Ann and Jack’s relationship is redolent of the comedic battle of wits that occurs in Much Ado about Nothing between Beatrice and Benedict, and as in Much Ado love eventually prevails and Jack Tanner, the anarchist, is won over by a woman, and by love.

The play depicts the human quest for love. Godwin states that it’s really about how Jack negotiates opening up to love despite his protestations that it gets in the way of the real purpose of life; contemplation. Shaw navigates the portrayal and discussion of in depth philosophical and social issues, including an examination of Heaven, Hell and Purgatory, by employing comedy which maintains the audience’s interest and Simon Godwin’s production is definitely played for laughs.

Mendoza (also The Devil), played by Tim McMullan, is insanely funny swaggering across the stage dressed up like Russell Brand out on the pull and Jack’s chauffeur, Straker (Elliot Barnes-Worrell) combines a modern East End dialect with Shaw’s scripted scrutiny of the class system with hilarious effects.

The set is simple but highly effective, centring on a moving inner set that spins around on a central pivot. The use of video support is spot on here acting as a framework to break down the fourth wall for the audience as well as adding visual variety.

This production is another example of Ralph Fiennes’ enormous talent as an actor and will surely mark the beginning of an exciting directorial career for Simon Godwin at the National. They were brave to include the often omitted Don Juan in Hell scene but it paid off in dividends greatly enriching the play’s social missives.