A Tour-de-Force Performance By Actor Adrian Lukis Gives "Being Mr. Wickham" Its Emotional Velocity And Allure

 

By James V. Ruocco

In Jane Austen's celebrated 1813 novel "Pride and Prejudice," the character of George Wickham is an officer in the local military regime described as a noble, well-spoken gentleman who uses charm and dash to integrate himself into the lives of others. But in reality, he is a liar, a hypocrite and an opportunist who uses women for his own selfish pleasures and thinks nothing of ruining their reputation in upper class society.
He is also a gambler who has no scruples, runs up debts and then either disappears or runs away when he can't find the money to pay off those he has wronged.

Described by Austen as a man characterized by vicious propensities, Wickham, as the story continues,  uses his friendship with the very wealthy Mr. "Fitzwilliam" Darcy for strictly monetary means (he asks Darcy to lend him money to pay off his debts). But when Darcy refuses, Wickham seduces Darcy's  sister Lydia, a boy crazy, dangerously naive 15-year-old girl as payback with plans to steal her fortune following an organized elopement. Trapped in a dysfunctional marriage, Wickham not only loathes Lydia, but finds himself living a very lackluster life - the result of lies, deceit and completely selfish, offensive actions and choices.

Wickham's voice, the events at Pemberly and the haunted and scandalous memories of his past are the literary centerpiece of "Being Mr. Wickham," a one-man play that steps back in time to find the now 60-year-old character ready to "tell all" about his extraordinary life. 

"I had charm," he tells us.
"I might be the villain of my own story."
"I've gambled with men and slept with most of their wives."
"I'm very much alive and can pass for forty on a very good day."

Extraordinary.
Riveting.
Personal.
Revelatory.
Truthful.
Dynamic.

"Being Mr. Wickham" succeeds largely due to shrewd channeling, brilliant conversation, lucid storytelling, emotional flashiness and beautifully sustained artfulness that enhances its palpable journey, its unassuming nature and its well-crafted melodrama.

Co-authored by Adrian Lukis (he plays George Wickham in this production) and Catherine Curzon, the play continues the story of Austen's popular character, interweaving dialogue and narrative with agreeable revelation, originality and compassion. It's all very well patterned and positioned in true storytelling smartness containing the right blend of humor and darkness and seemingly smooth wisdom and practicality that you can't help but notice. It is also blessed with the kind of intellectual and profound verbiage that makes you cling to every word that comes out of Wickham's mouth. However, to fully appreciate "Being Mr. Wickham," you must listen to every word without any kind of distraction. Simply take a deep breath, put the wine bottle and half-filled glass off to the side and let Lukis and Curzon seize the day (or night), so to speak.

The stirred emotions and enticing options of "Being Mr. Wickham" are portrayed in respectable, distinguished fashion by Guy Unsworth, a smart, significant director who gives the piece a vivid sense of time and milieu, an enticing mix of humor, drama and madness and a faultless mindset rife with compassion, compliment and credibility. One-man plays are not the easiest works to stage, but Unsworth's competent understanding of the text, its main character and the rhythmic patterning of its individual scenes gives him enough fire and fuel to keep the production moving at a steady pace and pique viewer interest for its entire 56-minute running time. The process, which mixes theatrical staging with that of cinematic invention allows him to capture the reality of the main character, the actual moment in time and place and the progression of the story without stagey camerawork and unmotivated cues and conventions. Here, things are raw and truthful and often framed against the backdrop of the Theater Royal's eye-catching Regency theatre design, a conceit that heightens the observational verite of the subject matter.

As George Wickham, Adrian Lukis offers a mesmeric performance that memorably captures the character's emotional wounds, his healing, his aches, his authority, his sexuality and his proud and not-so-proud memories of a life and career that is not easily forgotten. An actor capable of inherent personality and vocalism, his monologues, confessions, dramatic flourishes and haunted mysteries keep the viewer transfixed by magnificent acting choices, offset by his ability to switch gears in a single millisecond, ready to reveal yet another memory or thought with unflinching honesty and undiluted reality. It's a artist's gift that tells us everything about the explored and mysterious life of a man, aptly named George Wickham.

A thoughtful and intelligent one-man play, "Being Mr. Wickham" is a wonderfully orchestrated theatrical achievement rich in irony, persistence, conversation and ambition. Adrian Lukis, in the role of George Wickham, delivers an intensely invigorating performance that is imaginative and refreshingly personal. The script, co-authored by Lukis and Catherine Curzon, resonates with choice philosophies and ideals that are both light-hearted and dark. Director Guy Unsworth, using the elegant surroundings of the Theater Royal as his backdrop (this Regency theatre is ideal for his form of storytelling), offset by Libby Watson's handsome period design, crafts an edgy, intimate production full of surprise, insight and clarity that continues the story of George Wickham with a caring attitude and pulse that prompts immediate attention and reaction, most agreeably.

"Being Mr. Wickham," produced by the Original Theatre Company, is now available to be streamed on demand from May 11, 2021 through August 11,2021. Tickets are £20 and £22.50 (includes digital programme). For paid and free content, you must register and create an online account. Once you are logged in, you can watch and purchase the production. You can view "Being Mr. Wickham" on any device with an internet connection and browser. To do this, just enter the URL - originaltheatreonline.com/login - and submit the details you have been given above. This is a live performance and must be watched at 3:00 p.m. or 7:30 p.m.

Playwright Ben Brown's "A Splinter of Ice" Is A Moving, Intriguing Political Drama That Unfolds With A Conceptual Boldness And Confidence That's Absolutely Hard to Resist

 By James V. Ruocco

A double agent for the KGB while working "in a position of trust" for the British secret service, Kim Philby was one of the most famous Cambridge Five gentleman spies. Of the five, he was also the most successful in providing secret information to the Soviets during World War II and the early stages of the Cold War including plans to subvert the communist rule of Albania. In 1963, having been exposed as a Soviet agent, he defected to Moscow where he lived until his death (he died of heart failure) in 1988.

Graham Greene was a successful English writer and journalist regarded by critics and audiences alike as one of the best British novelists of the 20th century. Mostly concerned with the moral and political issues of the world, Greene penned more than 25 works including "The Quiet American," "The Power and the Glory," "The End of the Affair" and "The Heart of the Matter."
In 1987, he met with Soviet spy Kim Philby for dinner in Moscow. According to Greene, he seemed to be the only Westerner who understood Philby, his exposure as a Soviet mole and more importantly, who the real Philby was when completely unmasked - not as a cold-hearted traitor but as an individual and passionate idealist of both counterintelligence and the Marxist faith.

 Two men. Two friends.
Conversations.
Theories.
Thoughts.
Differences of opinion.

In Ben Brown's "A Splinter of Ice," a 90-minute drama that takes place in Moscow, 1987, just two years before the end of the Cold War, the playwright crafts a finely wrought theatrical piece rife with words and dialogue that not only feels authentic, trustworthy and intimate, but grants us insight into Philby and Greene's world with such precision and narrative gulp, the experience itself blends the real and the invented with situations and discussions that are perfectly modulated within the framework and context of the actual presentation.

What's exciting about the reunion - set mainly in the confines of a Soviet-style drawing room - is Brown's canny writing technique which relies heavily on the beats and rhythms of the duo's conversations, exchanges, pronouncements, actions, tensions and backstories. As playwright, he knows exactly what he wants and runs with it. He doesn't brush over details. There's no padding or conversational sap. Insight and outrage bring force to Philby and Greene's non-stop wordplay. Arguments and reflections are streamlined with insight, color and abject persuasiveness. Nothing feels abstract or out of place. And more importantly, there's a certainty and a tableful of thought-provoking exploration and ideals throughout "A Splinter of Ice" that are undeniably real.

Against this backdrop, co-directors Alastair Whatley and Alan Strachan bring depth and purpose to the actual proceedings, thus, allowing Brown's involved playtext to run its course with just the right amount of ambition, tension and cheekiness. There's not a lot of movement in terms of staging, but then again this isn't a piece that relies heavily on edgy or artsy stage maneuvers. Here, dialogue drives the action forward. When and if the actors are asked to move about Michael Pavelka's handsome, workable set design, it is casual or nondescript. Unnecessary blocking would alter the tension and confrontational elements that are the centerpiece of "A Splinter of Ice."

Filmed onstage at the Cheltenham Everyman Theatre, "A Splinter of Ice" uses various cameras to telegraph Philby and Greene's Moscow reunion. Whatley and Strachan, aided by Tristan Shepherd (director of filming and editing) use simple, strategic closes ups, long shots and reaction shots which give the play an actor-audience perspective that feeds on the energy of the actors and their dramatic interplay. It's a process that works particularly well and gives "A Splinter of Ice" its creative openness, feel and intimacy. Despite the ongoing pandemic which at this point in time prohibits live performances, one often feels that they are seated in the third or fourth row center seats of the Everyman Theatre.

"A Splinter of Ice" stars Oliver Ford Davies" as Graham Greene, Stephen Boxer as Kim Philby and Sara Crowe as Rufa Philby. Davies brings tremendous depth and strength to his portrayal of Greene, effectively articulating the character's charm, angst, humor, importance and exceptional conversational skills. Throughout the production, his work is vital, emotional, confident and completely in sync with the playwright's vision of the character and his interplay with Philby. 
As Philby, Boxer's portrayal of this infamous double agent is filled with irony, struggle, pretense and quickness which is exactly right for his characterization. It's a great role and one the actor invests with a keen naturalness so convincing, you never doubt his actions for a minute. Crowe, as Philby's Russian wife Ruta, projects the image of a caring, devoted wife more concerned about her husband's health and welfare than his former life as a spy. She's only on stage for a few scenes (Brown should have given the character an extra scene or two), but, nonetheless, makes her presence known through observant good work, detail and likeability.

A well-paced, uniquely honest drama of former friends reunited for an imagined meeting of conversation, drinks and dinner, "A Splinter of Ice" is a beautifully isolated work that intrigues and fascinates. Playwright Ben Brown's weighty dialogue blends fact and fiction most agreeably, thus, giving his three-member cast words and situations that pique our interest immediately.

In the hands of co-directors Alastair Whatley and Alan Strachan and cinematographer Tristan Shepherd, the subject matter is reinforced by an interlocking tension and wordplay that is communicated with contrast, speculation, heartbeat and a thrilling sense of identity and purpose. So much so, that you might want to google search both Philby and Greene on the internet when the play is over. It's well worth it.

"A Splinter of Ice," presented by the Original Theatre Company,  is streaming online, now through July 31, 2021.  Tickets are £20 and £22.50 (includes digital programme). The 90-minute play was filmed onstage at the Chelterham Everyman Theatre. For paid and free content, you must register and create an online account. Once you are logged in, you can watch and purchase the production. You can view "A Splinter of Ice" on any device with an internet connection and browser. To do this, just enter the URL - originaltheatreonline.com/login - and submit the details you have been given above.