Excellent - gripping drama even though we all know the outcome. - Janet burns
30 Dec 11
As a piece of theatrical entertainment Three days in May is seriously flawed. It opens with a narration from History For Dummies and is almost entirely comprised of elderly men sitting around a table discussing events that we all know the outcome of. However, as a staged re-creation of the dark period when Britain seriously considered sueing for peace with the Nazis it is rivetting. Ben Brown's play is commendably balanced: there are hints of the depression which plagued Churchill (hardly suprising given that Britain appeared so close to defeat); Chamberlain (superbly played by Robert Demeger, looking like he has just arrived from his umpteenth appearance in The Woman in Black)is allowed the dignity of admitting he had badly misjudged Hitler at Munich; and even the appeasement of Halifax is shown to be motivated by a wish to avoid the sacrifice of millions of servicemen and civilians - these are men who still remember the horrors of the First World War, supposedly the war to end all wars. To be honest Warren Clarke doesn't look much like Churchill and the voice is only an approximation, but when he addresses the House of Commons on the cusp of the Dunkirk evacuation you just want to stand and cheer. For a brief moment I was reminded of the current negotiations to save the Euro wich could result in financial catastrophe or, ironically, German economic dominance of the continent, but Three Days in May deals with a time when the stakes were unimaginably higher and the theatre should be packed with school parties. Of course, it should also have been commissioned by the (Royal) National Theatre, but that would never happen under the current regime which should be to their lasting shame so all credit to Bill Kenwright for having the courage to bring this superb event to the West End. - David Baxter
09 Dec 11
Well, here we are in December 2011 in the middle of a crucial few days for the fate of Europe¡.and whilst all of this was going on, I was watching a play about a crucial few days for the fate of Europe 72 years ago. ¡..
Though I studied history until I was 18, I¡¯m a lot more ignorant about the Second World War than my Icelandic companion on Tuesday evening. The History curriculum ended in 1939 and my ¡®consciousness¡¯ of current affairs started in the late 60¡äs, so the 30 or so years in-between find me lacking. To say that this play enthralled a dummy and a veritable expert is therefore a compliment ¨C bringing the audience average age down (so rare these days) was a bonus!
The play tells the story of, well, three days in May 1939, during which a historical decision was made which determined not just the rest of the war, but the shape of Europe since. Should we go with the French Premier and start negotiating another ¡¯piece of paper¡¯ like the Munich Agreement, or continue the war? This decision takes place on the eve of the Dunkirk evacuation and during the fall of Belgium and is made by the War cabinet led by Churchill (in office just 18 days) riding a wave of popular support, Chamberlain (out of office for the same period) still leading his party but out-of-favour with the people, foreign secretary Lord Halifax favouring appeasement and Labour leaders Attlee and Greenwood, keen to do what the people (and the unions) want.
Simply staged in a room in Number 10 with occasional scenes in the garden and in Westminster Abbey and the House of Commons, Ben Brown¡¯s play is a subtle combination of the historical, political, psychological and personal. Churchill¡¯s assistant Jock Colville acts as narrator and adds his personal story. It contains fascinating roles for men of a certain age which this cast clearly relish. Warren Clarke is better known for his TV work, but he really impresses on stage. He creates his own Churchill rather than an impersonation and it¡¯s finely detailed and nuanced. Robert Demeger¡¯s Chamberlain seems to have the weight of the world on his shoulders, in his face and in right in his eyes; he turns out to be a somewhat sympathetic character. Halifax however is a deeply unsympathetic character, which Jeremy Clyde pulls off cleverly. James Alper¡¯s assistant / narrator is important to the structure of the play and he handles it very well. They¡¯re lucky to have actors of the calibre of Michael Sheldon, Dicken Ashworth, Timothy Kightley and Paul Ridley in the smaller but key roles in this all-male cast.
The hands of Alan Strachan¡¯s direction and Gary McCann¡¯s design are hardly noticeable, which allows the story to speak for itself. It feels a little old-fashioned, but as most other plays at the moment seem over-engineered, this proves rather refreshing. A very pleasant surprise. - Gareth James
09 Dec 11
Outstanding.....well worth going to! - Mr P D Shaw
