In the Wanamaker Playhouse’s candlelit space Jon Bausor’s clever set divulges sinister built-in drawers of files. Conspirators plotting treason discover the hard way that a mole is privy to their plans. Religious refugees fleeing to England in the wake of massacres on the continent find themselves unwelcome in isolationist Britain. Late 16th-century London feels a lot like a John le Carré thriller set right now. And indeed playwright Anders Lustgarten owes his title to le Carré, who wrote “espionage is the secret theatre of our society”.
Marc Chagall and his beloved Bella would surely have loved this magical synthesis of moving pictures, words, music and song. It is also a glorious and seamless synthesis of the talents of a superb creative and performing team.
Writer Daniel Jamieson and director Emma Rice got to know the couple intimately when they played the roles in an early version of his play. Now they return to realise their vision anew and share it with a new audience. Of course the two multi-talented actors, Marc Antolin and Audrey Brisson, are at the heart of the vision, bodies intertwining as they sing and speak, and seemingly floating above Sophia Clist’s quirky Chagallesque machine for acting on, all crazy angles, rakes, beams and crannies thanks to Etta Murfitt’s choreography and Malcolm Rippeth’s gorgeous, painterly lighting.