“When and where did you hear the rumour that I’ve been playing to empty houses?”
When a play is “based on true events”, there’s always a tricky line to tread as the very nature of theatre is to be, well, theatrical and the truth be damned. And when the subjects are such well-known luminaries as Orson Welles and Laurence Olivier with a side helping of Joan Plowright and Vivien Leigh and rounded off by Kenneth Tynan, the blurring between fact and fiction is even further tested, especially if you know anything about these figures.
Austin Pendleton’s Orson’s Shadow centres on Welles’ ill-fated decision to direct Olivier in Eugène Ionesco’s Rhinoceros, at Tynan’s instigation as the playwright would have it, all three men in their twilight of their careers or at least a crossroads on the part of Olivier. From Tynan’s machinations to make this happen to the rehearsal rooms of the Royal Court where egos clash and sparks fly – though married to Leigh, Olivier’s co-star Plowright was also his lover – it’s a titanic battle between genuine titans. Continue reading “Review: Orson’s Shadow, Southwark Playhouse”