James Karas
The Cane in Mark
Ravenhill’s new play refers to what turns out to be the most important and
lethal instrument in the hands of a teacher. We quickly realize that Edward,
who is retiring after 45 years of teaching, at one time used to cane some of
his students. I immediately jumped to the conclusion that this was going to be
a play about a pedophile who abused his authority over children and sexually assaulted
them. In other words, the specialty of some Catholic priests. I was wrong.
Edward (Alun Armstrong) and his
wife Maureen (Maggie Steed) are waiting for his celebratory retirement but
there is a large number of students and former students protesting outside
their house. A brick is thrown through their window and their daughter Anna
(Nicola Walker) arrives and tries to unravel the reason for the protests and
the rock through the window.
Nicola Walker, Alun Armstrong in The Cane. © Johan Persson
It will take until the end of the
play for us to determine the reason for the rock-throwing and more importantly to
examine fully the three characters and their lives. We will witness a taut, well-structured
and compelling dramatic work and riveting performances by the three actors. The
Cane is a play that moves mostly backwards to give us revelations from
the past and then leaps forward into an unexpected but shocking end.
Ravenhill has developed the three
characters meticulously and their actions are completely understandable. Armstrong’s
bravura performance as Edward gives us the portrait of a bully who is devoted
to following the rules. If the rules call for a misbehaving youngster to be
caned five times on the hand or his buttocks, Edward will do it with Prussian
precision. He will then enter it on a ledger, insure that the permission of the
child’s parents is included and even explain to the victim that he is doing it
only to correct his behavior and not out of any malice. Everything is done according to the rules.
Anna is his only daughter and all
evidence points to an inept parent who showed more regard for the cane that he
used to punish boys than for his child. She grew up hating her parents
intensely and left axe marks on the walls from a particularly bad fit when she
screamed that she wanted to kill her father.
Steed’s Maureen is an apathetic
woman who is bullied and humiliated by her husband. They never discussed having
a child, but she became pregnant. The rearing of Anna was a disaster leaving
her parents with nothing but hatred for her. They have had nothing to do with
her for years.
Anna is a smart and successful
teacher in the Academy schools which, according to her, are connected to life
and practical reality. She is raising her own children after her marriage
failed. She displays a keen mind and complete self-control as she digs deeply
into her father’s history as a teacher, a disciplinarian and a hateful person.
The facts come out slowly and methodically,
but our attention never flags for a second. The number of protesters outside
the house grows and Edward is finally forced to produce the cane that he used
decades ago when caning was permitted. He wrapped the cane in a blanket and
stored it in the attic of his house with care and almost affection one may say.
If only he had shown the same regard for his daughter.
The set by Chloe Lamford consists
of an almost unfurnished large room with some steps leading to the other rooms
of the house and an opening to the attic. A painting of a charging elephant is
visible on the back wall.
Director Vicky Featherstone shows
masterly control of the action. She is so meticulous in maintaining the perfect
pace that there is not a sing line or movement that does not keep our attention
rivetted.
A thrilling performance of a
marvelous play and a compelling night at the theatre.
_________
The
Cane by Mark Ravenhill continues until January 26,
2019 at the Royal Court Theatre, Sloane
Square, London SW1W 8AS. www.royalcourttheatre.com
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