Stage: Notes from the dark side

Villain in Tinseltown
by David Harrold
dir Helen Niland
with Jonathan Hansler
White Bear Theatre, Kennington •  18-29.May.21

Adapted from Oscar-winning British actor George Sanders' autobiography Memoirs of a Cad, this witty one-man show skewers Hollywood from the inside out. While exploring the nature of stardom and ambition in the old studio system, the script finds chilling insights into today's social media landscape, where influencers sacrifice authenticity for fame. So even if it stretches a bit further than its reach, the show is packed with knowing commentary and provocative ideas.

On the set of the 1959 sword-and-sandal epic Solomon and Sheba in Spain, George (Hansler) is pondering his career. He's a suave, astute nice guy who has become typecast as a villain in the movies. And he considers why this seems to be true across the industry, as on-screen baddies are the kindest, most generous actors working, while the heroic stars in the spotlight tend to be self-centred and aloof. George says he loves taking these more colourful side roles, and yet he clearly aspires to the limelight, recounting stories about his glamorous costars. This includes his close friendship with screen icon Tyrone Power and his marriage to ostentatious socialite Zsa Zsa Gabor. 

When the script centres on anecdotes and personal observations about the business, including a lot of namedropping, it's riveting and resonant, albeit not particularly juicy. Less successful are extended philosophical ramblings, some of which are delivered by disembodied voices. Hansler is wonderfully deadpan as George chain-smokes and guzzles glasses of wine, meandering through stories with riotous honesty. His catty observations reveal a determination to always speak the truth, however painful it may be. And his first-hand recollection of Power's death on-set is heartbreaking.

The lavender-hued stage is a cleverly designed dressing room (by Piran Jeffcock), with a rack of costumes that all come into play. And the inventive lighting design (by Chuma Emembolu) keeps things visually in motion. Rather muffled by the sound system, there are voices, music and sound effects from off-stage, both memories in George's mind and the general bustle of the movie set. And George's frazzled wardrobe fitter (uncredited) makes a few amusing appearances to help him into and out of various outfits. 

George's monolog is generally sharply cynical about the film industry, and it strikes quite a few zinging chords along the way. There are also several very funny moments, as well as glimpses of deep emotion that might have been more effective to unpack than the more generic "art of living" theorising. Most interesting is what the play reveals about the nature of celebrity, what it costs personally to rise to the peak of popularity and the fact that there is a way to maintain integrity and be a success as an actor who isn't perhaps a star.

20.May.21