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