The Emperor Jones

Synopsis

Southern American ex-convict, Brutus Jones, aided by his double- crossing British ally, Smithers, connives his way into an uncompromising dictatorship over a remote island in the West Indies. Faced with a terrifying people’s revolt, the delusional Emperor escapes to the dark forest and a promise of salvation. But in the searing heat and to the ominous pulse of his trackers’ drums, Jones is driven to make his way through every lead bullet in his gun, right down to the silver one he is saving for himself.

Our Review:

29 August 2007

Reviewing this production of Eugene O'Neill’s expressionistic play in its original manifestation at the Gate Theatre in 2005, critics declared a transfer impossible. National Theatre artistic director Nicholas Hytner clearly felt otherwise, and director Thea Sharrock has reworked the piece for the wide spaces of the Olivier (as part of the £10 Travelex season), but with the same actor’s mesmerising performance at its core.

Paterson Joseph’s Brutus Jones was unnerving at close quarters - the Gate was transformed into an oblong sandy arena into which the audience of only 65 people peered down - and he is still riveting, although the effect is, of necessity, different. Instead of the intensity of eye contact, of complicity in Jones’ predicament as he hurled himself against the imprisoning fence, we observe him at a distance, in a more spectacular staging.

It's impossible to imagine this part played by a white man - and its earliest exponent ...

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Latest User Review

David Baxter - 18 September 2007:

I'm not sure if The Emperor Jones should be revived given that is so open to accusations of racism. I'm also not sure if it should have been produced in the Olivier. Jones' nightmare in the woods is terrifying from the front of the side stalls but the effect must be lost further back. The strength of this production is Patterson Joseph's shattering performance as he descends into total madness. Hopefully he is not a method actor otherwise you fear for his friends and family. Unfortunately after such intensity the ending comes a limp let-down. A 5-star performance, a 4-star production but both are more than O'Neill's play deserves....

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