As a second lockdown begins, there’s still a chance to get close to quality theatre, even if it is online. It’s hard not to be grumpy, though. This rehearsed reading of Steven Carl McCasland’s play makes it painfully obvious how much better a staged production would be. Nonetheless, the history in the piece is interesting and the event boasts an excellent cast.
Set in the home of Alice Toklas and Gertrude Stein, the scenario at first is a dream dinner party or, rather, soirée. Lillian Hellman, Agatha Christie and Dorothy Parker are going to pop by. There’s plenty of wit as well as friction to entertain, led by the somewhat dotty old couple who are as eccentric as they are erudite.
Little Wars quickly takes a more serious tone as a war-time spy drama. Toklas and Stein’s final guest is the brave Muriel Gardiner, who smuggles refugees out of Germany on the very night France surrenders. She’s a fascinating character, capably depicted by Sarah Solemani, so it’s a shame that the role feels like a forced foil – a too obvious moral conscience for the play. Unfortunately, McCasland’s plotting is slow, a flaw director Hannah Chissick cannot disguise, as well as heavy handed.
The superb cast adds some sophistication. Debbie Chazen makes an excellent – drunk – Dorothy Parker (tricky on stage, let alone online). Juliet Stevenson is fantastic as the steely Hellman, a role that, like a too-aloof Christie (Sophie Thompson) needs further development. The real treat comes with our hosts. Ably supported by Catherine Russell as Toklas, Linda Bassett’s performance as Stein is astonishing. Full of fury as much as fun, this “rare kind of bird” is dignified, frightening and inspiring. Bassett makes Stein’s poetry sound natural and the way her cold anger is carefully exposed is brilliant.
It’s no surprise that the evening’s conversation never lacks drama or interest. The talk is crammed with detail about the women’s lives that shows a lot of research. It’s fascinating, but McCasland does not wear his learning lightly. A bigger problem comes with efforts to expand from specific biography to broader experiences. There are highlights: a preoccupation with memory arising from Stein’s potential dementia is very moving. But the battle of ideas that McCasland tries to set up as his finale – with Christie and Hellman coming across as downright odd – falls very flat. At least there’s some fantastic acting to enjoy along the way.
Until 8 November
Photo by john Brannoch