Sleuth

Sleuth
By Anthony Shaffer. Directed by Malcolm Sussman. 1812 Theatre (Vic). 8th - 31st August, 2013.

It sounds like a plotline in itself. Identical twin brothers both become highly successful playwrights, feted by their generation. But whilst Peter went for the intellectual and emotional complexities of Amadeus and Equus, Anthony opted for the equally complex but less cerebral thriller; and Sleuth is a masterful example of his art.

Ostensibly it’s a game of one-upmanship as the cuckolded husband and the lover intellectually cross swords to thrust and parry for the prize of a woman. But simplicity will never win the day. These two men are out to trick, to fool, to prove themselves superior; in short, to win the game.

It’s a difficult play to mount because it requires so many props and because so much of its delicious texture relies on the element of surprise – which is, of course, lost after one’s first viewing of the play. It’s also complex and dialogue driven and requires two fine actors and a good director to realise its full potential. Fortunately 1812 has all three. Malcolm Sussman is an experienced actor as well as an excellent director, and he has brought out the best in his two leading men as well as superbly blocking and making use of the stunning split level set (complete with woodburning stove).

John Zuill (Andrew) has a Shakespearean background, stunning diction, and a larger than life persona which works brilliantly for this role. He commands the stage and is suitably supercilious in his upper crust disdain. There are shades of Rupert Everett at play, and I mean that as a compliment. It’s a terrific performance and I look forward to more from him in the future. One small word of criticism. John has been living and working in Bermuda and has picked up some Americanised vowel sounds. Please put an imaginary R into those “A” words to lengthen the vowel sound….aRsk, laRst etc.

Nigel Leslie is excellent as a naturalistic Milo. He underplays against the force of Zuill’s Andrew, and yet never seems weak. He’s a fine actor and with a subtlety equally suited to film and television as well as the stage. I can’t help wondering why we haven’t seen more of him. Less successful was the second act transformation, which seemed to channel Michael Caine but was still unmistakably Mr Leslie.

In addition to the acting and direction, this production is a triumph for those behind the scenes. Neil Barnett’s set is brilliantly conceived and Star Weymark has excelled with props and effects worthy of a West End production. Robin Le Blond’s lighting design is perfect, and Kaspar Sussman’s sound design is spot on. As always, the members of 1812 company have given their all.

This is a delightful theatre set in Upper Ferntree Gully with superb facilities – including an art gallery which doubles as a second performing space. Sherry before the show, and supper with champagne after are served in the lovely foyer. If you haven’t been to 1812, Sleuth is the perfect excuse for a trip. A terrific production.

Coral Drouyn

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