It’s All True

In 1937, following his success as lead actor and director of Faustus, Welles decides to take on a left-wing opera for the Federal Theatre project, where he not only clashes with the writer and actors over “interpretation”, but comes up against the government, which withdraws support and locks the company out of the theatre when it is realised that the piece is pro-unions and strikes.

Undaunted he pushes everyone to the limits and when a stage is denied performs the piece with his actors in the stalls.

David Cottis‘ direction captures the spirit of the piece well, location-hopping across a mostly bare stage, using only subtle lighting changes. The atmosphere of depression-era America is ably expressed by Jonathon Cohen‘s music, played on an old upright piano, which provides an incidental soundtrack as well as accompaniment for the songs sung in rehearsal scenes.

Edward Elgood as Welles is both charming and ruthless, Ian Mairs‘ Blitzstein suitably self-effacing and frustrated. Sam Child‘s neat, effete Houseman shows us a producer both charming and charismatic. Elizabeth Guterbock is very convincing in her two chameleon roles as the tireless stage manager and Welles’ wife — and though Loriel Medynski is suitably out of her depth as Olive, not enough distinguishes her from her other role as Blitzstein’s wife – which at times is confusing.

Welles was hailed as a magician for whom smoke and mirrors were all part of the theatrical illusion, and here you can see the magic without the trappings.

– by Dave Jordan