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Author
Simon Gray
Producer
Birmingham
Repertory Theatre
Director
Harold Pinter
Design
Eileen Diss
Costume
Dany Everett
Lighting
Mick Hughes
Sound
John Leonard
Performers
Edward Fox
Peter Bowles
Barbara Jefford
Sally Dexter
Steven Pacey
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Comedy
Theatre
26th June - 18th December 2004 |
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Watching
this rather old-fashioned
play one has to question who
the real 'Old Masters' are?
Are they the implied Giorgione
and Titian, are they the veteran
and famous actors, Edward
Fox and Peter Bowles, or are
they writer and director,
Simon Gray and Harold Pinter,
respectively? The answer is
probably all three.
Set in 1937, in a beautiful
villa in Tuscany, Simon Gray's
latest play is a war of egos
based on real people. Bernard
Berenson (Edward Fox, in wonderful
if quite over-the-top form)
was a highly respected art
historian who published several
important studies on Italian
masters. His authority was
brought to the attention of
Joe Duveen (Peter Bowles)
an aggressive and successful
art dealer, who employed Berenson
to authenticate the masterpieces
he then sold to the likes
of Andrew Mellon. Having worked
together, in a sort of love-hate
relationship, for over 20
years, the crux of the play
hinges on Duveen's attempt
to make Berenson change his
mind about an attribution.
The
Adoration of the Shepherds
had been attributed to Giorgione
by most of the experts, but
Berenson, whose reputation
still carries great weight,
insists it is by Giorgione's
pupil, Titian. Although, to
many of us that might seem
to imply that it is worth
more, it does in fact mean
the opposite, as there are
very few Giorgiones in existence.
Berenson seems, on the surface,
to be living an idyllic life.
His wife, Mary, whom he loves,
is openly accepting of his
mistress, Nicky, who is also
his secretary. Nicky, in turn,
behaves like a daughter to
Mary and learns from her to
cope with the Swedish masseuse
who visits in the afternoon.
As Berenson says to her ‚
the sex doesn't really count,
it's just part of her treatment.
Villa I Tatti, where they
live, is a gorgeous haven.
But Mary is ill, and war is
approaching. Berenson is a
Jew; even though he has converted
to Christianity, he realises
his life will not stay as
it is. He rants about Hitler
and 'the Duck', as he calls
him, and bemoans the fact
that his beloved Italy is
changing rapidly. His reputation
has suffered some setbacks
recently, he has made some
mistakes and the money he
makes from his percentage
of sales has dwindled over
time.
Despite all of this he refuses
do what Duveen begs of him,
which is only not to 'publish'
his view that the painting
is a Titian. This small favour
would make both of them a
great deal more money, but
Berenson, or BB as he is known,
stands firm. Peter Bowles
is perfectly cast as the art
dealer who knows that death
is not far off but won't give
up or give in. Their head-to-head
encounter is fun and they
play off each other beautifully.
Edward Fox and Peter Bowles
really are old masters and
Barbara Jefford (Mary), Sally
Dexter (Nicky) and Steven
Pacey (Duveen's right-hand
man) are all excellent as
well; Eileen Diss's sets and
Dany Everett's costumes conjure
up the time and place exquisitely.
Ultimately though, I felt
it was all a little inconsequential.
This is not a great play,
although it is an enjoyable
evening. The average age of
the audience was considerably
higher than the normal west-end
crowd but then, despite Old
Masters
being a new play, this is
good old-fashioned theatre
at its best.
Francine
Brody |
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