Theatre Review: Big and Small

Cate Blanchett gives a magnetic performance in Botho Strauss's play.

“I am a righteous person,” declares Lotte, the character played by Cate Blanchett in Botho Strauss’s play Big and Small (Gross und Klein), currently on show at Paris’s grand Théâtre de la Ville.  The sentence is comic, Lotte having just been caught rifling through a dustbin, and grappling for an excuse to make the moment seem less awkward.

Yet in many ways there is a touch of the visionary, a prophetic kind of quality to Lotte. Her Candidean perspective on things pervades this delicious production of the play by the Sydney Theater Company, and invites the audience to step through the looking glass into an adult Alice’s world.

This month marks the beginning of the Sydney Theatre Company’s whistle-stop tour of Europe with a newly re-translated script by British playwright Martin Crimp, and direction by Benedict Andrews, considered one of Australia’s most innovative voices in theatre. The production received rapturous reviews from the Australian press when it opened in Sydney last autumn, and also sees Cate Blanchett performing on stage in Paris for the first time.

The play follows Lotte’s journey as she tries to seek out her estranged husband Paul, whom she loves obsessionally - and delusionally. Lotte’s tragedy is the experience of human grief but with all the emotional understanding of a child. Time has not helped her overcome that initial, raw and indeed childlike-inducing wave of helplessness brought about by grief - in Lotte’s case, her husband leaving her. She is literally, trapped, something the set design and choreography deliberately emphasizes. Lotte, for example, looking up from the street to the tower block of her childhood friend Meggy’s apartment (who barely remembers who she is), forced to wait outside as no one will let her in. Or Lotte, once finally in the building, as she peers through the glass door of the apartment block into the street outside.

Blanchett’s performance is magnetic. In scenes with music, Lotte gets carried away, dancing wildly, again with all the innocence of a child, only stopping when she realizes others are watching .  As Blanchett dances away, running around the stage, Lotte's raw passion is mesmerising.

The audience observes the dreary world around Lotte. The couples who argue with venom; the children who fight with their parents; a young woman who injects herself with heroin. In one scene, the voice of Meggy coming through the entry phone of her apartment block taunts Lotte, daring her to be cruel. But Lotte does not know how. She craves companionship, but the world gives her none.

In the final scene, the stage becomes a kind of claire-obscure, with Lotte, so striking with her pale skin, pale hair, and pale clothes, set in relief against the dreariness of those next to her, and the darkness around her. Lotte lights up the stage, and for those last moments of the play, we are almost convinced that she may very well be "righteous" after all.

"Big and Small" opens at the Barbican, London EC2 on 13 April

Cate Blanchett, Photo: Liza Tomasetti
Photo: Getty
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Stanley Johnson's Diary

The author on iguana burgers, cricket with Boris – and what Russia really knew about Brexit.

My week began with the annual Earl Spencer v Boris Johnson cricket match, held at Charles Spencer’s Althorp House in Northamptonshire. This is a truly wonderful event in a wonderful setting. Boris’s team has not yet notched up a victory, even though we once fielded Kevin Pietersen. This year, we actually came close to winning. The Johnson team made 127. Charles Spencer’s, with one over left, was on 123. It was a nail-biting finish, and they finally beat us with only two balls left to bowl.

Clapping for Britain

The day after the match, I was invited to lunch at the Travellers Club to meet Alden McLaughlin, the premier of the Cayman Islands, and other members of his government who were travelling with him in London. I discovered that his vision for the islands’ future extended far beyond the financial sector, central though that is. He was, for example, proud that the Cayman Islands – like other UK overseas territories – contribute enormously to the UK’s biological diversity.

“The blue iguana is endemic to the Cayman Islands,” McLaughlin explained, “and it is one of the great environmental success stories of our time. It has been brought back from the brink of extinction.” If the blue iguana is on the way to recovery, it seems that the green iguana is superabundant. “We must have a million of them,” he said. “They are getting everywhere. We are working on a strategy to deal with them.” I told him that I once had an iguana burger in Honduras. He shook his head. “We don’t eat iguanas in the Caymans.”

Premier McLaughlin was also able to offer a useful insight into Britain’s current Brexit-related tensions. In 1962, the Cayman Islands were forced to decide whether to stay with Jamaica, as Jamaica became independent, or to stick with Britain as a separate crown colony. “We decided by acclamation,” McLaughlin told me. “One side clapped loudest; the other side clapped longest. The loudest side won. We stayed with Britain.” Like the latest Johnson-Spencer cricket match, it was a close-run thing.

Light touch

Last week, we went to the first night of the Proms at the Royal Albert Hall and, in the course of an inspiring evening, heard Igor Levit, born in Nizhny Novgorod, give us a haunting version of Beethoven’s Third Piano Concerto. There were mutterings afterwards that he shouldn’t have chosen Liszt’s transcription of Beethoven’s Ode to Joy as his encore, but if Levit meant this as a political statement – and he probably did – it was done with the lightest of touches. He doesn’t paint his message in huge capital letters on the side of a bus.

An open goal

My sister, Hilary, who emigrated to Australia in 1969, has been visiting. We spent two days on Exmoor in the middle of the week, on the family farm where we grew up, before coming back to London for the launch of my 25th book and tenth novel. Kompromat is a satirical political thriller that aims to recount the real story behind both the election of Donald Trump as US president and the pro-Brexit vote in last year’s referendum. There is a quotation from the former London mayor Ken Livingstone on the front cover: “It’s brilliant and, who knows, maybe it’s true.”

In interviews, I have been asked whether I really believe that the Russians might have been behind both Trump’s victory and Brexit. My response is simple. In the US, the idea of Russian interference in the election is being taken very seriously. Over here, we don’t seem to be bothered. I asked myself, when I started writing Kompromat in February, why wouldn’t the Russians have taken a shot at an open goal?

My fictional British prime minister, Jeremy Hartley, is a deeply patriotic man, convinced that the only way to take Britain out of the EU is to call a referendum – with a little help from his “friends”. But I don’t want to give too much away. Channel 4 has bought the rights and will be programming six half-hour episodes.

All in the family

Hilary and I went to Wimbledon for the ladies’ final as the guests of her old friend David Spearing. Usually referred to by tennis addicts as “the man in the black hat”, he first became a Wimbledon steward in 1974 and, even though he has lived in Abu Dhabi for the past 50 years, he never misses a season. As the longest-serving steward, he gets to sit (wearing his famous hat) in the “family box” at Wimbledon, the one where close relatives of the players are invariably placed.

We met Spearing in the officials’ buttery during one of the intervals (Venus Williams had just been walloped by Garbiñe Muguruza). Later, as he walked us back to our seats, people kept stopping to ask him for a selfie. “I’ve been on duty in the ‘family box’ for 20 years,” he explained. “They all know me, from the TV or in person, seeing me sitting there hour after hour. The first time Andy Murray won the championship, he climbed up into the box to hug his girlfriend. I noticed he had missed his mother, who was sitting over to the side. ‘Don’t forget about Mum, Andy,’ I told him!” 

Stanley Johnson’s novel “Kompromat” is published  by Oneworld

Stanley Johnson is an author, journalist and former Conservative member of the European Parliament. He has also worked in the European Commission. In 1984 Stanley was awarded the Greenpeace Prize for Outstanding Services to the Environment and in the same year the RSPCA Richard Martin award for services to animal welfare. In 1962 he won the Newdigate Prize for Poetry. He also happens to be the father of Boris Johnson.

This article first appeared in the 20 July 2017 issue of the New Statesman, The new world disorder