Art

Arty Party

Art

by Yasmina Reza, translated by Christopher Hampton

OHADS at the Coward Studio, Hampton Hill Theatre, until 2^nd March

Review by Polly Davies

On a cold and wet night, the Studio at Hampton Hill Theatre was packed for the ever-popular Art by Yasmina Reza.   First shown in translation from the French in London in 1996, the play has aged well, and this production, directed by Harry Medawar, is as sharp and witty as ever.  A simple plot, three middle-aged men talking about their friendship in a series of conversations, comes alive as the convincingly played characters explore their shaky relationship with understanding and with some beautifully timed touches of comedy. 

As a woman I have long been intrigued by male friendships, which seem to be both deeper and yet less personal than friendship amongst women.  So, this play with its examination of such a relationship and the way each character responds to the change that life brings, was particularly fun to watch.  Serge, Mark and Yvan have known each other for fifteen years, and thought they knew each other well.  Yet Serge has unexpectedly shown an increasing interest in modern art, an enthusiasm not shared by Mark.   Encouraged by a set of new friends involved in the contemporary art world he has bought at great expense a painting of white lines on a white background, by an acclaimed modernist, Antrios. 

Each character can be seen to represents a different aspect of our response to art- the enthusiast Serge, the sceptic Mark and the “I know what I like” Yvan.   But these differences take on an extra significance as they threaten the cosy relationships the three have developed over the years.  Mark feels threatened and excluded; he has seen himself as mentor to Serge, does not share or comprehend this style of art that Serge is drawn to.  While Serge can’t understand why his enthusiasm is not shared and wants validation from his friends.   Yvan is not bothered; he just wants to share the usual jolly companionship with his friends and so ends up irritating both.

The small space and the sparse set made it feel that we were sharing the living rooms where the play took place.  With no interval, the change of location between the three homes was shown only by the change of picture on the wall, effectively underlining each character’s taste in art.   The play stands or falls by the believability of the three characters, and so all credit to all three actors for such excellent characterisations.   Nigel Cole’s Mark moved seamlessly between urbane arrogant disdain, laughing at his friend’s choice, and petulant, slightly pathetic friendship, resenting his loss of his perceived role as the wise all-knowing friend.  Vaughan Pierce’s laid-back Serge, is recovering from a divorce by throwing himself into a new passion, yet is still unnerved by Mark’s condescending response.  These two were perfectly offset by Peter Easterbrook’s playing of Yvan, the butt of his friends’ humour.  A jolly clown, made serious and conciliatory by the combined effects of a pending marriage and therapy. A special mention goes to Easterbrook for his tour de force of exasperation at his friends’ bickering,

As the conversations develop, previous resentments emerge and threaten to finish the friendships for good.  But despite the differences, they fight, at one point literally, to get back to the friendship they all crave.  At the end they seem to have achieved this, but at what price.  But maybe like art itself, it is the essence that matters not the apparent differences.  Art made a thoroughly enjoyable evening. 

Polly Davies, February 2024

Photography courtesy of OHADS