It is a brave production of a play that brings heaven and hell to modern secular audiences. But the power is dispersed by the vast spaces of the National, some miscasting, especially of Bertie Carvel as Enrico and his father, and a translatiopn which appears to be from a 50 year old trying to be oool. The play either needed to be done in period or rewritten in gangster. A shame because there were powerful moments - the hermits agonies over his soul destined for Hell and Enrico's end. - Tim Saunders
07 Nov 12
Damned By Despair might be the funniest play seen at the National since One Man Two Guvnors, which is odd because it's not meant to be a comedy. Biyan Sheibani's attempt to shoehorn a play from the Spanish Golden Age into Italy of La Dolce Vita is barmy, Frank McGuiness provides a clumsy adaptation full of modernisms that sound ridiculous in this context and much of it is set on a mountain which is paved with multi-coloured vinyl tiles. The unfortunate Bertie Carvel is spectacularly miscast as a very camp and ludicrously unthreatening psychopath and I spent most of the time trying to suppress laughter and counting the empty seats (far more after the interval). Rather like Three Sisters at the Young Vic, in the second half the play finally emerges and there are suggestions of what could have been an interesting examination of faith, sin and redemption and the use of a boy soprano to represent the voice of God is extremely effective. Sebastian Armesto somehow manages to impress as Paolo but otherwise it's all a hilarious shambles but one that might pass into National legend. - David Baxter
19 Oct 12
Messy, unnecessarily loud in places with confusing characters, I found it really tough to stay right through, thought the set was quite impressive, especially as the gates of hell, the story seemed like it couldn't decide what century it was in, and the costumes made it even stranger! I wonder if Shebani even knew what he was going for. For me the two best parts were the young shepherd leading the criminal through the stalls and the background cast (from the story above and my programme at the time I think they are Grady-hall, Keenan and Reid). Would not make an effort to see anything else by this director. - Kate Drinkwater
17 Oct 12
At last, a production that is unafraid to deal with the topics of sin, redemption, temptation, and forgiveness. The NT should be commended for putting this on. Granted that the script should have been updated to take account of the modern setting.
It is unsurprising that people would feel disappointed given the general ignorance of the basics of Christianity in this country. That is why we need this sort of play. It is not supposed to be comfortable. Theatre is about challenging assumptions.
In reply to specific points, modern monks do sometimes wear habits, and as for the set being half-baked, it was simple but generally effective. (In addition the Travelex season tends to be done on a distinctly limited production budget, thus keeping the ticket prices low.
The portrayal of the Devil is one of the most effective anywhere. Too often he is considered as a gentleman who is 'all right really', and too often as a figure of fun with horns and tail. Amanda Lawrence's portrayal captured excellently the selfishness, untruthfulness, and subtlety, and simple enjoyment of destruction that characterises him.
I propose to go again. - AB
17 Oct 12
Shame on the critics who have let the intellectual novelty of the playtext excuse the bland, half-baked design, direction and acting that exposes every weakness and irrelevance in a story and dramatic form that otherwise might have timeless insights. The National's impetus to produce this piece is commendable, but the production remains a shockingly poor interrogation of the text, themes and emotions by all involved. Painfully uninspired and uncrafted. - DL
16 Oct 12
Possibly the worst play I have ever seen... - JH
12 Oct 12
One of the most embarrassing pieces of theatre ever committed by the National. Atrocious in every way. There are no redeeming features. Avoid it completely and save having to watch those poor poor actors suffer this purgatory 8 times a week. - Cassox
12 Oct 12
I had my suspicions when I worked out that the original running time for this production as stated in the programme had been cut by almost 30 minutes. My fears were well founded. I have no problems with plays written centuries ago being updated and anachronisms can often be very effective, but in this production many of them just didn't work, the worst example being a reference to the Reservoir Dogs ear cutting sequence, coupled with a rendition of 'Stuck in the Middle with You'
The second half was better and you can always rely on the NT for excellent staging, but this one will be one of its rare misses. - DCH
12 Oct 12
We stayed, with gritted teeth to the end, but Bertie Carvel shake of the head and grimace as the actors left the stage at the end, said it all. - Alan Jarvis
11 Oct 12
I like Armesto but the play is a real howling dog. People even left on Press Night! The National has to be allowed the odd ballsup. Hytner's reign has been amazing. DON'T GO NICK! - Davey Felt
11 Oct 12
Agree with previous reviewer. Very poor. I am very surprised that the Natonal decided to proceed with it. If you are unfortunate enough to see this, you will also be furious that the National spent public money on such a poor production. And a crying shame for those arts organisations that would have better spent this money. - Theatre lover
07 Oct 12
You know there are problems with a production when a considerable amount of your audience leave the theatre after the first act and I did notice this was the case before the start of act two last night at the first preview of Damned by Despair at the National. It might have been due to trying to update this play and all of a sudden depart in to modern dress after an excellent and promising start in period dress. It also might be because the National has the habit of putting their cast in to military fatigues with guns all the time when they are taking about spears and arrows. Overall very dissapointing production and so was Bertie Carvel as Enrico. Sebastion Armesto was excellent as Paulo and Amanda Lawrence played the Devil brilliantly. I did like the set though and if you do go do stay for Act two as there are a couple of good bits towards the end when we descend into hell. - Ils
