8 June 2023 I 19:30 I Ambassadors Theatre, London
⭐⭐⭐⭐⭐
Rose, a one woman play written by Martin Sherman and performed by Maureen Lipman, is an exemplary performance of what is best about pure theatre today. Upon original concept, a play where a woman sits upon a wooden bench for over 2 hours seems rather slow paced. However, Rose is such an incredibly moving and thought provoking performance that brings up many important questions regarding morality and the power of life.
David Shields' minimalist set design is utilised to great affect, the somewhat confined box is a site for rising tension, dramatizing the story to become a pressure cooker scenario. The wooden bench holds great importance, using the performance time to condense and reflect the Jewish mourning tradition of 'sitting Shiva'. As a demonstration of respect for loved ones lost, we immediately begin to sympathise with the titular character, as the script details the concept of Shiva, for those like myself who were unaware before the show. The screen of light behind the bench is soft, using melded colours to mirror the text at times, adding to the aesthetics of the piece, certainly during hopeful sequences. Due to the minimalism, the focus is purely on Lipman. I find that the more you stare at her face, it almost seems to change along the show, where the actress I know becomes unrecognisable, seeing so much lived experience in the face, the purity of every emotion.
Dame Maureen Lipman is a marvel on the stage. It is easy to credit an actor for a large, outspoken role, though Lipman finds the beauty within the quiet, channelling the philosophical power of Sherman's writing. The outstanding thing about Lipman is that she breathes life into the words, in a way that you forget her legendary status as an actress and believe she IS Rose, owning the history with memory over recited text. The Ambassadors Theatre is a smaller venue, which makes the relationship between Rose and the audience very intimate, almost sat alongside an old friend. Lipman really understands the power of story, and being restricted through the wooden bench, she finds the perfect ways of communicating feeling through body language and expression in vocal tone. There is a shift in theme between acts, whereby her mannerisms greatly adapt to the change; an actress any director would dream of.
Martin Sherman's writing is utterly spectacular, as we are taken on a life journey beginning within a Nazi dominated Europe, following the glamour of the American dream. The sense of hope which is revitalised through Act 2 is a pleasure to see. But equally the text brings up harrowing, important narratives of genocide and mass violence, which have a frightening relevance today. This production handles Judaism, the Yiddish language and connotations of life very sensitively, with respect for these cultures. The piece indulges in a delicate humour, complimenting the brutish themes of Act 1 without desensitizing or disrespecting the importance of the story. There is a moment of the script that allows Lipman to react with audience laughter, further heightening the humane relationship we feel with Rose. Julian Starr's use of sound works incredibly well in conjunction with the script, with fleeting sound effects to mimic an atmosphere and a faded memory. As we recount memories, there are certain senses we remember, if only for a moment, and Starr's sound design highlights this beautifully.
Rose, starring Dame Maureen Lipman, is an absolute triumph, and somewhat of a hidden gem in the West End. Which is a shame, because not only is the show produced incredibly, but the message contained across her insufferable narrative is all the more important for audiences. Under Scott Le Crass' direction, this West End revival of Rose deserves many awards. With a long journey from Manchester's Hope Mill Theatre, to the Park Theatre and finally the Ambassadors Theatre, this marvel of a play continues to delight audiences, and fingers crossed that more people have the opportunity to see this transfixing piece of theatre.
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