Double Feature

Clove Hitch and Two Hand Knots

Double Feature

by John Logan

Hampstead Theatre Original at Hampstead Theatre, until 16^th March

Review by Heather Moulson

A quaint country cottage is the quirky backdrop for two very significant moments in film history, focussing on four iconic players in the industry.  Two stories are seen as two separate encounters in one rustic living and kitchen area, bringing to mind Alan Ayckbourn’s How the Other Half Loves.

The concept is a very ambitious step, but is pulled off beautifully.  We are flies on the wall as Tippi Hedren and Alfred Hitchcock, and Vincent Price and Michael Reeve confront demons and other misdemeanours in the same limited space, during filming of two historic productions.  These icons share more than just the physical set, itself an intricate installation designed by Anthony Ward and with atmospheric lighting by Hugh Vanstone.

Tippi Hedren has honest charm, and an acute awareness that her looks, more than her acting skills, had carried her this far in Hollywood.  Hedren also had a justified wariness of the great Alfred Hitchcock, as he demanding her presence at the cottage for a “rehearsal”.

Even with Hitchcock’s overall repellent motives (including a hankering for Grace Kelly), he still has an aversion to Tippi Hedren’s admired hands, permanently hidden in elegant long white gloves.  At the crest of his ultimate demands, demands that wiped away the empathy we had built for this powerful, if sad, little man, he insists his Marnie star keeps them on.

There was a moment of real tension when Tippi switches on the bedroom light – the timing is superb – and a true moment of turmoil for the Hollywood star, before she actually confronts Hitchcock with home truths and a firm “No”.  In an era when women were powerless in this industry, it is a very brave act.

Joanna Vanderham as Tippi Hedren was slick and clever, while Ian McNeice playing of Hitchcock as repellent nevertheless showed him as bleakly endearing.

Vincent Price and Michael Reeves have a less subtle showdown.  The veteran actor eventually takes over cooking Michael Reeve’s floundering supper, being a cordon bleu cook.  The underlying tension blends well with the preparing of food.  Price on the verge of leaving England and the set of Witchfinder General, shares a tumultuous relationship with the ill-fated Reeves.  (Shortly to have an untimely and tragic fate, while Price’s career was reignited).

The very young and ambitious director and the former matinee idol curse and banter as if they are in an intense tennis game.  They finally sit down to dinner, that ultimate civilised act, and Vincent Price eventually agrees to continue in the role of Matthew Hopkins.  We are in Price’s corner as he reduces Reeves to begging level.

Johnathan Hyde as Vincent Price was edgily humorous and empathic, whereas Rowan Polonski portrayal of Michael Reeves was convincing, shrewd and vulnerable. 

There is a salient point that Hitchcock’s aborted encounter took place in his “cottage”, which was actually on a studio lot in California, whilst Reeve’s cottage was in fact genuinely situated in Suffolk.  This fundamental difference did not obstruct John Logan’s very sharp writing, and four excellent performances.

Johnathan Kent’s slick and tight direction had a sensitivity that delivered a very clever and thought-out production.  Let’s keep our hopes up for a tour to follow soon.

Heather Moulson, March 2024

Photography by Manuel Harlan