Chesil Theatre
Chesil Theatre, Winchester
Mark Ponsford
14 July 2024
Full Disclosure: I’ve neither read Louis de Bernieres’ novel nor seen the film. (My late Mum saw the film, and all she told me was that she “didn’t like Nicolas Cage very much”, which probably wasn’t the most illuminating insight.) So Captain Corelli’s Mandolin was to be, for me, a completely new experience.
Before I expound further, I don’t know how many tickets might still be available for the run at the Chesil, but I’d respectfully suggest that you stop reading this review now, and get straight online to snap up whatever you can. What’s taking place at the Chesil this week is something quite magical, and even before the play commences there’s pleasure to be had from possibly the most beautiful and elegant set I’ve yet seen occupying this stage, enhanced by equally beautiful lighting throughout. It’s a production filled with the painstaking detail that’s so much a part of the Chesil presentations, and I include the music, sound, costuming, and occasional (and often gobsmacking) projections.
It’s very difficult to say too much without giving any “spoilers”, for both devotees of the novel and/or film, and for those new to the story. The ravishing design of the play is a deceptive one, as the horrific reality of the War encroaches – it’s August 1941, on the island of Kefalonia, and we will be following the events through to the end of the war, and beyond. I suspect it’s a tale open to individual interpretation on certain levels, but with so many lines that touch so powerfully on love, loss, prejudice, and the dilemmas of the human heart, I found myself deeply immersed in, and involved with, the fates of the individuals. There is drama and gentle humour, along with moments of sheer horror – this is an emotionally charged piece, and particularly in the second act, when we watch two people looking forward to a future that we know is far from certain, the humanity of the story has reached our hearts – the audience were completely rapt, silence only broken by some literally stifled sobs. Such is the power of the story, and of the beautiful production it’s been given by Director Eleanor Marsden.
Eleanor has been incredibly well served by her acting ensemble, led by Emily Baldock, making an exquisite debut with the company, in the central role of Pelagia, and hers is a performance that captivates, as she vividly conveys the growth and increasing maturity borne from the life experiences she undergoes during the course of the play. The relationship between Pelagia and her father, Iannis is well drawn, and Alec Walters’ warm and kindly gravitas adds layers of its own to the relationship, and to the overall arc of the story. As the titular Captain, Tom Dangerfield imbues the character with remarkable detail (not least in the moments where Corelli plays the mandolin), and he a strong, compelling and affecting presence throughout. There’s also a most affecting performance from Danny Olsson as the selflessly loyal Carlo; and among this first-class ensemble of performers, another strong impression is made by Tess Rowsell, a delightful young performer, whose two crucial charcterisations are well drawn. Mention must also be made of Arthur Wood, whose performance as Mandras is both intense and terrifying by turns. (The programme tells us he’s off to train professionally in the Autumn, and that his ambition is to play Hamlet. I’d say he already has the makings.)
This is a production that holds us in thrall from the opening through to the quietly powerful ending, and yet again the Chesil have delivered a rich gift of a piece for their audiences. I’ll go so far as to say that it’s my Play of the Year to date. Oh, and about those stifled sobs I mentioned earlier? One of them was mine. Full Disclosure.