‘Intermittently affecting blend of personal struggle & political outrage’: BEAT THE DEVIL – Bridge Theatre

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Bridge Theatre, London – in rep until 31 October 2020

The inbuilt flexibility of the Bridge Theatre’s auditorium means that it was always going to be a contender for one of the first theatres to be able to reopen. And with this season of monologues, headlined by David Hare’s Beat The Devil, it is indeed now welcoming back socially distanced audiences with a remarkably smooth and efficient FOH operation that should put most any worry at ease.

And rather than go for escapism, we’re in full-on mask-wearing reality as Hare dramatises his experience of contracting Covid-19, exploring the sickness not only of his own body but in the governmental response. The result is an intermittently affecting blend of personal struggle and political outrage.

Given the speed with which it has arrived in a theatre, it is perhaps unsurprising that there’s nothing too sophisticated about Beat the Devil. Its prose is straight-forward, its target clear-cut but at the same time, there’s a pleasingly sharp edge to its humour as Hare tears strips off minister after minister.

Nicholas Hytner goes for a pared-back production, which feels prudent if not necessarily the most exciting. There’s an elegance to Gareth Fry’s sound and George Fenton’s brief musical interludes but Hytner is undoubtedly guilty of under-utilising Bunny Christie’s design in favour of simply moving Ralph Fiennes from in front of a desk to the side of a desk and back again.

Playing off the rumpled academic aesthetic, Fiennes does his best to enliven the sections of the text that feel a little research-heavy (you’ll know more about oxygen saturation than you did before…) and is at his best in the finer details of the more personal touches, particularly regarding his relationship with his wife.

Ultimately, Beat the Devil does just about everything you’d expect a David Hare monologue to do and to be frank, if that’s not for you, then the Bridge have helpfully programmed lots more alongside it. And even if it doesn’t necessarily get the heart racing, there’s something comforting in its blandness and also in its delivery model which could hopefully mark the beginning of more theatres being able to open across the UK.

Running time: 45 minutes (without interval)
Photos: Manuel Harlan

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Ian Foster
Since 2003, Ian Foster has been writing reviews of plays, sometimes with a critical element, on his blog Ought to Be Clowns, which has been listed as one of the UK's Top Ten Theatre Blogs by Lastminute.com, Vuelio and Superbreak. He averages more than 350+ shows a year. He says: "Call me a reviewer, a critic or a blogger, and you will apparently put someone or other's nose out of joint! So take it or leave it, essentially this is my theatrical diary, recording everything I go to see at the theatre in London and beyond, and venturing a little into the worlds of music and film/TV where theatrical connections can be made."
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Ian Foster on FacebookIan Foster on RssIan Foster on Twitter
Ian Foster
Since 2003, Ian Foster has been writing reviews of plays, sometimes with a critical element, on his blog Ought to Be Clowns, which has been listed as one of the UK's Top Ten Theatre Blogs by Lastminute.com, Vuelio and Superbreak. He averages more than 350+ shows a year. He says: "Call me a reviewer, a critic or a blogger, and you will apparently put someone or other's nose out of joint! So take it or leave it, essentially this is my theatrical diary, recording everything I go to see at the theatre in London and beyond, and venturing a little into the worlds of music and film/TV where theatrical connections can be made."

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