The End of the Affair is Graham Greene’s evocative analysis of the love of self, the love of another, and the love of God. Bill Compton's stage adaptation, performed by the TTC was a mixed bag for Aliya Al Hassan in this 2.5 STAR review
The End of the Affair is Graham Greene’s evocative analysis of the love of self, the love of another, and the love of God. Based on a project conceived over ten years ago, Bill Compton’s visually impressive adaptation of the book finally comes to fruition at the Hampton Hill Theatre this week.
The story follows Maurice Bendrix, an embittered man recalling his affair with a married woman, Sarah Miles, during the Second World War. Bendrix’s chance encounter with Sarah’s husband Miles, on a bench on Clapham Common two years later, projects the three characters into a dark and compelling cycle of love, vengeance, hatred and jealousy.
Teddington Theatre Company stalwart Daniel Wain plays Maurice Bendrix, a man controlled by his obsession with his past relationship with Sarah. As the vengeful anti-hero he is very credible, showing real emotion and connection to the story and his character. He carries much of the show, as his character narrates as well as participates, but he does so convincingly.
Mia Skytte Jensen plays Sarah, a woman desperate to find interest and physical excitement in her rigid life with a boring husband. Skytte Jensen and Wain do not have a sparkling chemistry. She takes a little time to warm up and at first lacks a little passion in her performance. In the second act she is much stronger, especially as she narrates part of her diary, but the script does not allow her developing love for God to be made very clear.
Jeremy Gill is very effective as private investigator Parkis. His ‘mockney’ accent and beige raincoat are somewhat a caricature of a detective, but he provides some much-needed light relief and is a nice counter-balance to the darkness of Bendrix.
The rest of the cast is somewhat weaker. Adam Woods’ depiction of cuckolded husband Henry Miles is rather flat and Matt Ludbrook’s atheist Richard Smythe is too bland for the character.
However, Bill Compton’s direction and design is inspired. Giant digital screens form the background to the play, with moving images forming a park, a living room and various other locations. What is clever is that the design plays with audience perspective and creates movement where it would normally be lacking. The skillful motion of the items on the background screens is mirrored by the movement of the cast and sparse props on the rotating stage floor. The opening scene where Maurice walks though the park, as the background moves behind him is filmic and particularly skillful.
Sound is also designed by Bill Compton, but is less successful. Music meant to be emotional is often mawkish and occasionally so loud that it threatens to drown out the actors.
Those expecting a faithful adaption of Greene’s book will be disappointed. The focus on Catholicism is intrinsic to the book, but is mostly ignored in favour of the story of joyless adultery. The possibilities of Sarah’s saintliness are largely ignored, except the disappearance of Richard Smythe’s facial sores, which go unexplained.
The TTC must be congratulated for producing another sincere and credible show; the design is worth the ticket price alone, but an overall stronger cast is needed to convincingly carry off such a bleakly emotional story.
The End of the Affair is showing until October 1, to book tickets visit teddingtontheatreclub.org.uk
Follow us on Facebook and Twitter for updates on all the latest local thespian news
