National Theatre's Man and Boy Review: Rattigan's Financial Drama Reimagined
The National Theatre continues its innovative programming with a fresh take on a classic playwright. Following a debut writer on its main stage last autumn, the venue now hosts Terence Rattigan's lesser-known 1963 play, Man and Boy, in the Dorfman theatre—a space typically associated with new and edgy works.
A High-Concept Mishmash of Genres
Directed by Anthony Lau, this production reimagines Rattigan's story with a silver-screen aesthetic that blends screwball comedy and financial thriller elements. Set in a 1930s basement apartment in Greenwich Village, the staging features art deco-style credits on the walls, lighting up as characters appear, creating a cinematic feel.
Georgia Lowe's set design incorporates green baize and movable tables, suggesting a giant game of snooker where characters manipulate each other. This artifice is heightened by stylised movements, such as slow-motion sequences, which contribute to a sense of theatrical distance.
Plot and Performances in the Spotlight
The play follows Gregor Antonescu, a megalomaniacal Romanian financier played by Ben Daniels, who faces corruption charges and reunites with his estranged son, Basil Anthony, portrayed by Laurie Kynaston. Basil has changed his name and pursues a songwriting career before his father's re-entry into his life.
While Daniels delivers a commanding performance as the corrupt financier, the production's conceptual approach often drains the emotional weight from key moments. Gregor's attempt to pimp out Basil to American businessman Mark Herries, played by Malcolm Sinclair, gets lost in the overheated staging.
Supporting characters add a cartoonish edge, such as Phoebe Campbell's Carol Penn with an exaggerated Long Island accent and Leo Wan's comically tetchy lawyer. Isabella Laughland shines as Gregor's wife, giving a charged performance in silk pyjamas and heels, though her character feels more like a type than a fully realised person.
Emotional Distance and Modern Echoes
The first half struggles under the weight of its laboured reinvention, with arch drama and operatic performances that remove audiences from Rattigan's subtexts. Kynaston projects bewilderment and anger effectively but never seems entirely at home in the role.
As the production eases its theatrics later on, it engages more deeply, revealing Gregor as a darker version of Jay Gatsby. However, the emotional remoteness persists, making his downfall and rejection of filial love intellectually understood rather than viscerally felt.
This is particularly regrettable given the play's explosive themes about capitalist corruption, which resonate with modern parallels like Jeffrey Epstein. The conceptual framework ultimately smothers the drama's potential impact.
Man and Boy runs at the Dorfman theatre, National Theatre, London, until 14 March, offering a visually striking but emotionally distant take on Rattigan's work.
