The RSC’s IMPERIUM has already been running at their Stratford base for some time so Stuart King went to the production’s new London home for a first peak ahead of our official press night review and star rating next week.
"Stupid people tend to vote for stupid people" waxes Richard McCabe as Cicero in the first instalment of the RSC's IMPERIUM - the irony being that he then repeatedly reminds anyone who'll listen, that he was unanimously elected Consul, by the citizens of Rome.
Robert Harris' trilogy of novels about the life and stately intrigues of possibly the ancient world's most extraordinary political orator, has been condensed and adapted by Mike Poulton. The sheer breadth and detail in the source material has required some paring to the sections dealing with Cicero's early life and career, but this allows for a sharper and more manageable 2-part production totalling 7 hours.
Having completed a run at Stratford-upon-Avon where it garnered rave reviews, Imperium has transferred for a limited season to the beautiful Gielgud Theatre on Shaftesbury Avenue, where patrons who have a bent for history, political shenanigans, witty observation and sharply delivered dialogue will revel in the lengthy proceedings. Those who prefer fluffier theatrical fare should probably steer clear. Heavyweight political commentators Andrew Marr and Jon Snow were spied in the stalls the night this reviewer attended "Conspirator", the first part of the production.
Rome's elite is a motley assortment of rich, privileged, entitled characters who believe that by virtue of their family's history, their turn as head honcho is simply a matter of time and assertion. Cicero has bucked the trend having neither high birth, nor wealth -- he relies on his wife's personal fortune to finance his campaigning (Siobhán Redmond exuding patience and grit as Terentia), which clearly rattles many of the would-be consuls in the senate. Cataline (Joe Dixon) is the most notably disgruntled for having lost the election and Cicero expends much of his year as consul putting down the former's rebellion. Crassus (David Nicolle) is an oily operator and apparently the wealthiest man in the state, whilst Christopher Saul plays Pompey the egomaniac who needs little encouragement to return to Rome from his military escapades to extol his own virtues, skills, abilities and achievements. It is a marvellously amusing coup that Director Gregory Doran has Pompey don blond combover hair and gesticulate at a lectern with hand and mouth movements which bear an uncanny resemblance to the mannerisms of a certain modern day international figure. Joseph Kloska is Cicero's slave and private secretary Tiro - who has a charming sideline as audience liaison, entertainingly bringing us up to speed on background events. Hywel Morgan is a drunken and disreputable co-consul Hybrida, Nicholas Boulton utilises a fruity, booming theatricality as Celer and John Dougall as Lucullus counsels earnestly throughout. Nicholas Armfield as Clodius exuberantly boasts of his sexual conquests - which include his sister Clodia (Eloise Secker) and Caesar's wife (on the altar, in the house of the Vestel Virgins, which causes something of a ruckus) whilst Julius Caesar himself (Peter de Jersey) maintains a suitably calculating imperiousness from the get-go which is carried forward into the second instalment, where adorned in blood red military tunic he ascends to the highest office whilst others dither.
The uncomfortable parallels between Brexit Britain and Rome's headlessness at the helm are palpable, as are the many other references to unaccountable governance. A central theme throughout is a dependence upon the rule of law, but those who espouse such adherence - notably Cato (played by Michael Grady-Hall) are deemed lecture-y and receive short shrift from those on stage and elicit a tangible disconnect from those in the audience, which is perhaps even more revealing and disturbing.
Anthony Ward has produced a simple, stylised set which includes a perpetually observant pair of eyes which view proceedings from a chunky upstage mosaic wall. Above this is suspended a sphere onto which are projected various motifs including a swirling Jupiter, snakes and other metaphors which neatly reference the action beneath.
Imperium is a worthy accomplishment all-round and reflects well on those involved. Secure a ticket if you are possessing of a tolerant disposition, strong intellect and moderately reliable bladder control.
When our critic NASTAZJA DOMARADZKA reviewed the National Theatre's production of