Under moral pressure: Chiwetel Ejiofor (Everyman). Photo credit: Richard Hubert Smith
Play: Everyman
Theatre: National Theatre
Writer: Carol Ann Duffy
Director: Rufus Norris
Review by Joy Francis
Watching the reworked 15th century morality and miracle play Everyman in the wake of the General Election, and amid the hype of Big Brother 2015, feels strangely apt.
With politicians clamouring over themselves to profess their love of the “working man”, and desperate BB contestants clamouring for celebrity, Rufus Norris’s first play as the National Theatre’s artistic director is unapologetic in its dissection of our materialistic and cult of personality culture.
Everyman or “Ev” (a commanding Chiwetel Ejiofor) is turning 40. Successful, charming and unafraid to flash the cash, his adoring friends, all donning Ev face masks, throw him a surprise birthday rave worthy of the hedonistic heydays of Ibiza. Against the throbbing pulsating beats of drum and bass and house, choreographed debauchery ensues, with alcohol, cocaine and sex flowing freely.
Passed out in his own juices, Ev is unaware that his fate is being determined by God (an impressive Kate Duchene), an East End cleaner, and Death (a caustic Dermot Crowley), a foul mouthed Irish man dressed like a dishevelled forensic scientist. Fed up with mankind ‘”taking my name in vain” and squandering “my legacy”, God orders Death to find an everyman to have a reckoning with.
Once awake, Ev is told in no uncertain terms that he is the chosen one to face God to give an account of his life before his inevitable death. Ev is far from ready to die. Death couldn’t care less. “How did you get my name?” cries Ev. “God is the guvnor and my guv wants a reckoning on your life,” Death says. “I’m God’s heavy, if you like,” he adds. God grants Ev some time to take a final journey to see if he makes any amends along the way.
Like Groundhog Day, Ev relives his birthday party, but with less abandon and more fear. His party pals fail to warm to the new Ev. His pleas for them to join him on his fateful journey are thoughtfully considered, then spurned.
Money doesn’t make the world go round: Amy Griffiths (Goods), Chiwetel Ejiofor (Everyman), Adam Burton (Goods), and Clemmie Sveaas (Goods). Photo credit: Richard Hubert Smith
A visit to his ill parents (Sharon D Clarke and Philip Martin Brown), and lesbian sister (an entertaining Michelle Butterly) – all of whom he has neglected – leaves him less sure about his ‘goodness’. As for the designer store whose profits he has singlehandedly pump primed, its glistening staff inform him that his worldly credit has no value in the underworld.
As Ev descends into self pity, self reflection and masochism, “I need more hurt. I need to find me,” he realises his moral shortcomings. Chiefly that in the face of widespread poverty and the slow death of the earth through ecological disasters, his money cannot offer salvation. Near the end of his life, he discovers something incredibly value about himself.
Former poet laureate Carol Ann Duffy’s adaptation of Everyman is lyrical, funny, scathing, occasionally bordering on pantomime, yet memorable for its gritty modernity, which an ancient tale of this kind needs to feel relevant.
The staging and direction are spectacular. Elements of classic 50s musicals are present in Javier De Frutos’s assertive choreography, while Ian MacNeil’s eye-popping set design, including golden mannequins (reminiscent of the iconic film Metropolis and the Oscar figurine) hover above the stage. One of the standout visual moments (and there are quite a few) is a menacing on-stage Tsunami which threatens to engulf the audience.
Rufus Norris is a theatre director who can inventively corral a cast of hundreds while throwing everything at them. What is also noticeable and notable is his colour blind casting approach to this production.
As for Ejiofor, he is majestic. Yet despite a persuasive performance, failing to put a foot wrong as he sqaures up to his narcissistic life and ambivalent relationship with God, feeling sympathy for him is less forthcoming. Ejiofor has a detached air that inspires admiration but makes an emotional connection elusive.
If this production is anything to go by, we can expect Norris to use his new position to bring original and diverse voices, and unexpected collaborations, to the National Theatre. Until then, go, watch and marvel at Everyman.
Everyman is at the National Theatre until 30 August 2015.