I’m Not Running – National Theatre (Lyttelton)

And so to another drama at the National Theatre about politics and rocky relationships (see previous review), except this one is firmly set in contemporary Britain.

David Hare’s I’m Not Running focuses on Pauline Gibson (Sian Brooke), a doctor whose campaign to save a hospital leads to a career in politics and her decision on whether or not to run for the leadership of the Labour Party.

The play begins with an amusing exchange between Gibson’s campaign manager Sandy (played by the always excellent Joshua McGuire) and a pack of political hacks at a press conference. No, he won’t be answering any questions, he says, before proceeding to do just the opposite.

The play moves backwards and forwards over some 20 years to examine Gibson’s life, her motivations and her complicated relationship with university ex Jack Gould (Alex Hassell), a Labour Party stalwart.

Sensibly, Hare places all of these political shenanigans in an alternate reality. There’s no mention of Brexit or Corbyn (though perhaps it’s no coincidence that the hospital that Gibson saves is Corby).

But for all its clever one liners, and an impressive revolving set with giant talking head projections, I’m Not Running is hard to connect with over its two hours and 40 minutes. There’s a genuinely affecting scene between a young version of Gibson and her alcoholic mother, but by the time the play reached its predictable final line I was glad to be running for the last train.

Antony and Cleopatra – National Theatre (Olivier)

First things first. This production of Shakespeare’s tragedy in the Olivier is a colossal three hours and a half hours long. That’s the same as watching Carry On Cleo TWICE with enough time in between for a leisurely bathe in ass’s milk. But what a wonderful theatrical journey this is. Hildegard Bechtler’s swirling set transports us effortlessly from palatial Alexandria to a hi-tech Rome fizzing with TV screens, while one stunning transition conjures Pompey’s massive battleship out of the floor.

Director Simon Godwin makes the clever choice to begin at the end, with [spoiler alert] Caesar (Tunji Kasim) announcing over the body of Cleopatra (Sophie Okonedo) that she will be buried alongside Antony (Ralph Fiennes). Then we slip back in time to see the Egyptian queen, who has remained prostrate on stage, coming to life in her lover’s arms.

The casting is magnificent. I’d been excited by the initial announcement back in October 2017 and wasn’t disappointed. Fiennes blazes as both “strumpet’s fool” and tough Roman general. But Okonedo shines even brighter. She flits between witty, playful, moody, and dangerous. The scene in which she angrily tries to drown an unfortunate messenger bearing bad news is a hoot. She’s surely going to win awards. Her costumes, by Evie Gurney, are fab.

And yes, that’s a real snake at the end. It curled right on cue. I suspect it has theatrical asp-irations.

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