Clarence Darrow – The Old Vic, London

I was lucky enough to get tickets to see this play just before the end of the very short run.  Critics have been fairly united in using the word ‘barnstorming’ when describing Kevin Spacey in this one-man show, and I would tend to agree: the dynamism of his physical presence and engagement with the audience were captivating, and the time spent listening to Darrow’s reminiscences about his life and career passed quickly and ended with a hearty standing ovation.  The barrier with the audience was comprehensively broken down from the outset: the very fact of staging the play in the round challenges the separation of the actor and the crowd as the reactions of other audience members become visible across the space, and Darrow’s emergence from under his desk at the start of the play, disappearance offstage and reappearance with a stack of boxes removes the formality of the central stage.

All this is in preparation for an engagement with the theatre audience throughout the play in the role of courtroom audience, jury or bystander, and sets up the tone of the piece, which moves fairly comfortably from conversational to oratorical, as Darrow variously recounts stories from his life and recreates moments from trials and speeches.  The physical unpacking and organisation of Darrow’s office space worked as both a metaphor for the unpacking of his thoughts and life, and as an effective way for Spacey to address all sides of the audience.

The Old Vic sees itself as the actors’ theatre, and it was clear that this play had been chosen for Spacey as a vehicle to display his acting talent in preparation for leaving the role of Artistic Director.  The audience would have been there to see him regardless of whether there were other actors on stage, and the fact that it was his first time in a one-man show, and first time playing in the round, added a level of skill that was appreciated in many an interval conversation.  I have seen more powerful performances, or at least ones that I have found more moving, but those have often relied on the interplay between actors, and the fact that Spacey was able to engage the largely British audience with a character far more recognisable across the Atlantic is testimony to his skill.  Incidentally, the programme was excellent at proving the necessary context for the play, as were the various photographs and props brandished throughout the performance.  Personally I appreciate an evening of education as well as entertainment, and to be informed while not being condescended to is a fine balance to strike.

Overall I second the hope expressed by various critics that this isn’t the last time Spacey will be seen on the London stage, preferably next time for a longer run.  I’m not sure I would rush to see another production of Clarence Darrow as a play, but I appreciate the opportunities it provided.