In 1934 Sir John Gielgud famously played Hamlet at the Noël Coward Theatre, London. 30 years later, Gielgud directed Richard Burton in the most successful production of Hamlet that Broadway has ever seen. Whilst, to audiences, Gielgud’s latest directorial role was a sheer success, backstage was somewhat of an unmitigated disaster.
With the age gap between director Sir John, and global superstar Burton, there are more than a few occasions where the two clash heads – mainly due to Burton’s seeming lack of professionalism, and Gielgud’s absence of the direction that Burton desperately seeked.
Without a clear vision at the forefront, Burton struggled to find the Hamlet which not only suited him, but also the story, and character in general. There are plenty of uncomfortable moments throughout the play, not only for the audience but also for the ensemble of actors, often having to deal with Burton’s outbursts, or Gielgud’s disappointment during rehearsals.
One particularly powerful scene was Burton’s humiliation of his director, in front of the rest of the clearly agitated cast, whilst edging ever-closer to opening night. The ‘sloshed’ actor showcases his insecurities and vulnerability throughout The Motive and the Cue, in somewhat of a different manner to how many may show their feelings. The arrogance, insecurity, frustration and fear are all apparent, almost simultaneously, in every word that Johnny Flynn’s Burton speaks.
The feeling of voyeurism is rife within most scenes between husband and wife, as we watch Burton undress…a number of times…whilst also seeing his equally famous wife, portrayed by Tuppence Middleton, in provocative clothing, at one point leading Gielgud to refer to her ‘tremendous bosom’.
The sets are simple but effective – the main focus areas being the rehearsal room, the Burton/Taylor lounge, and Gielgud’s office. Sought-after stage designer Es Devlin’s particular eye to detail, whilst ensuring simplicity, truly works well on the stage of the Noël Coward Theatre.
The historical importance of the theatre isn’t lost on playwright Jack Thorne, as he expertly meshes past and present together. Sam Mendes’ direction was considered, and undoubtedly kept true to the myriad of personalities, and drama, that was seen in the 1964 rehearsal room.
Mark Gattis’ portrayal of Sir John Gielgud is nothing short of perfection – keeping the dry, and somewhat unassumed humour of Gielgud at the forefront of every word, movement, expression, yet championing the kindness that exuded from the director, even when things weren’t going to plan. A performance that will be remembered for all the right reasons.
Reviewed by Luisa Gottardo
More about the show
Written by Jack Thorne and directed by Sam Mendes, The Motive and the Cue is inspired by the making of Richard Burton and Sir John Gielgud’s landmark Broadway production of Hamlet in 1964.
Offering a glimpse into the politics of a rehearsal room and the relationship between art and celebrity.
As previously announced, following a sold-out run at the National Theatre, Johnny Flynn, Mark Gatiss and Tuppence Middleton will return to play the iconic roles of Richard Burton, John Gielgud and Elizabeth Taylor in this ‘thrilling rollercoaster of high drama’ (The Sunday Times).
Joining them in this ‘theatrical extravaganza’ (Evening Standard) is, Allan Corduner as Hume Cronyn, Sarah Woodward as Eileen Herlie, Rebecca Collingwood as Linda Marsh, Luke Norris as William Redfield, Laurence Ubong Williams as Hugh McHaffie, Elena Delia as Jessica Levy, Huw Parmenter as Clement Fowler, Aaron Anthony as Robert Milli, Adam Sina as Frederick Young, Ryan Ellsworth as George Voskovec, Daniel Krikler as Dillon Evans and Waiter, David Tarkenter as Alfred Drake, Kate Tydman as Christine Cooper, Mark Extance as Mick Burrows and Stephanie Siadatan as Susannah Mason.
1964: Richard Burton, newly married to Elizabeth Taylor, is to play the title role in an experimental new Broadway production of Hamlet under John Gielgud’s exacting direction. But as rehearsals progress, two ages of theatre collide and the collaboration between actor and director soon threatens to unravel.
Mendes is joined by set designer, Es Devlin; costume designer, Katrina Lindsay; lighting designer, Jon Clark; composer, Benjamin Kwasi Burrell; sound designer, Paul Arditti with casting by Alastair Coomer CDG and Naomi Downham. West End director, Zoé Ford Burnett and associate director Yasmin Hafesji complete the creative team.
Assisted Performances:
BSL Performance: Saturday 3 February 2024, 2pm
Captioned Performances: Tuesday 20 February 2024, 7:30pm & Saturday 9 March 2024, 2pm
Audio Described: Thursday 29 February 2024, 7:30pm & Saturday 16 March 2024, 2pm
Running Time: 2 hours 40 minutes, including an interval
