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Absolute Hell
National Theatre, London
RODNEY ACKLAND'S 1952 play Absolute Hell and the director of this latest revival, Joe Hill-Gibbins, both come with a reputation for raucousness. Surprising then that, despite many a flourish, this production fails to deliver on its satanic promise.
Set in the immediate aftermath of WWII Soho, with a Labour election victory looming, Ackland’s work — initially titled The Pink Room — was greeted with such negative critical fervour that it was forced to close within three weeks, losing its producer Terence Rattigan £3,500 and their friendship to boot.
A series of high-profile revivals have restored the play's reputation and that of its author, but, despite painting beautifully detailed character sketches, the full picture ultimately underwhelms in 2018.
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth
