![](https://www.sardinesmagazine.co.uk/wp-content/uploads/2022/10/John-Mackay-Father-and-Juliet-Stevenson-Ruth-Wolff-and-The-Cast-of-The-Doctor-The-Doctor-Photo-Credit-Manuel-Harlan.jpg)
Show: The Doctor
Society: London (professional shows)
Venue: THE DUKE OF YORK’S THEATRE. St Martin's Lane, London WC2N 4BG
Credits: WRITTEN BY ROBERT ICKE FREELY ADAPTED FROM PROFESSOR BERNHARDI BY ARTHUR SCHNITZLER. Produced by The Ambassador Theatre Group & Almeida Theatre, Gavin Kalin Productions, Wessex Grove, Dawn Smalberg & Richard Winkler
Type: Sardines
Author: Chris Abbott
Performance Date: 07/10/2022
The Doctor
Chris Abbott | 08 Oct 2022 22:55pm
Photos: Manuel Harlan
Drama is created out of conflict, and audiences engage if they are given plenty to think about. Conflict and engagement are both fully in evidence in Robert Icke’s stunning production of The Doctor, based on a 1912 play by Schnitzler. First seen at the Almeida and now at the Duke of York’s, this production combines elegant direction, world-class acting and some complex dilemmas to create one of the most satisfying play-going experiences available in the West End.
Ruth Wolff is a doctor and leader of a medical institute; her expectations of others is as high as those of herself, and she is at first convinced that she did the right thing by refusing a priest access to a dying girl, on the grounds that no explicit permission was given by the patient. When the girl, a Catholic, dies without absolution, the outcome is an ever-spiralling morass of debate and indecision swirling around this principled doctor. In a superb cast with no weak links, among those to shine are Juliet Garricks as a stoic and supportive partner, John Mackay equally convincing in two very different roles and most of all Matilda Tucker as a totally believable but nuanced teenager. Choices made in the casting with regard to diversity and gender also contribute greatly to the effect of the production, undercutting and even disrupting the expectations of the audience.
It is the central performance by Juliet Stevenson, however, that makes this an unmissable theatrical event. At first totally in control and sure of herself, we see this complex character worn down by the doubts of others until she becomes less and less sure of herself or her beliefs. The final dialogue with the priest is a remarkable coda to what has gone before, when Stevenson has given us a performance that is by turns thoughtful, exciting and sometimes terrifying. Acknowledged as one of our finest actors, Stevenson surpasses all expectations here, and this is certainly a production that should be seen by all with an interest in the power, reach and effectiveness of live theatre.
The production itself, directed by script adaptor Robert Icke, makes skilled but subtle use of a revolving stage and an apparently simple set (Hildegard Bechtler) which in fact becomes part of the action when combined with Natasha Chivers’ chilly and unforgiving lighting. Icke moves his cast with great skill so that they come in and out of focus as we follow the plot, and they appear and reappear. The whole evening is underscored by the live drumming from Hannah Ledwidge and Tom Gibbons’ music, providing an exciting edge to much of the dialogue and unsettling the audience at specific moments, not least the uncertain and inexact ending of the first half, a remarkable demonstration of how a director in total control of his craft can exert his authority on the audience as well as those on stage.
As the issue develops in the second act, a television appearance brings the issue into closer focus as well as the use of video camera bringing us closer to the performers; it is a remarkable use of video, so often used without thought, but here entirely valid and thought-provoking. It is the kind of show that provokes instant discussion and often disagreement in the bar at the interval, with one or two couples clearly very divided in their reactions. No greater outcome for writer and director, surely, than to have an audience still engaged with the text and arguing about it over their glass of wine in the interval or on the way home. Great acting, highly inventive direction and much to think about: exactly what theatre should be about.