Mike Bartlett’s play Wild, which has just finished it’s run at Hampstead is an interesting and ambitious piece of theatre. It is difficult to write about because it contains a terrific coup de theatre- even the fact that it is there shouldn’t really be given away- and this is what you come away remembering and thinking about. The other thing which makes it difficult is that I was only able to see it by live relay and this sometimes makes it hard to judge performances. I found one of the characters- Caoilfhionn Dunne as “woman” a little overdone and mannered but every time that the camera pulled back and I could see her in the same way that I would have as part of the audience things came into focus. The part was being played on stage for the benefit of an audience who were actually present and those of us who had free seats via our computer for the final performance couldn’t be taken into account. A screen performance requires a very different technique and depending on the character that they are playing, a stage performance doesn’t always translate onto screen as well as it deserves to. Perhaps it was just me………….
I admire Mike Bartlett’s ambition as a writer. He has the courage to tackle a big subject, one which is not inherently theatrical, and make it work on stage. It examines the consequences of a large scale release of private information by a whistle blower- Andrew- who has now been forced into hiding by his actions and faces an uncertain future, not knowing who to trust. It allows the play to look at the real life actions of Edward Snowden, and what they mean, both for society and for us all, as individuals who are often prepared to give up so much of our privacy without a second thought. In the past those who stole and revealed sensitive and private information were thought of as traitors but Edward Snowden has also been called a hero. It’s a complex issue and while the play doesn’t fully work, a very big ask, it goes some way to untangling it. There are just three characters in a rather average looking hotel room. This means that it needs plenty of very good dialogue and lots of energy from the actors if the writer doesn’t want to risk sending the audience to sleep. Mike Bartlett does much more than this by turning things around at the end and reminding everyone in no uncertain terms that this is a piece of theatre. This takes real imagination- and great stage design from Miriam Buether. There is humour and some sharp playing from the three actors. John Mackay is a cool, quiet, enigmatic presence as “man” and Jack Farthing gives a natural, understated and convincing performance as Andrew.
And there is always that coup de theatre. Well worth seeing. I wish I had been there.