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As a theatrical attempt,Faith Healeris ambitious and a little scary.
But could one of the In Camera scratch productions createanysense of interplay with a socially distant process?
How would they rehearse?
Would it be a whole, or just parts?
But generally speaking, here was Friels gorgeous play, both competently staged and beautifully spoken.
It begins with Michael Sheen as the faith healer himself, Francis Hardy.
On good nights, he is a savior.
On bad nights, hes a fraud.
Even he isnt sure which is true, particularly now that the drinking has gotten so bad.
The camera is very close to Sheen here, and his eyes are pleading.
Is the performance working?
Is he right about the power of an empty room?
(Only if sorrow can be cured by hair of the dog.)
Indira Varma plays Grace, Hardys shellshocked wife, who cant understand why she stays with him.
Some of her story is, in turn, cast into doubt by Teddy.
Its an elegant trick, since the misrememberings and lies and inconsistencies actuallyincreaseour willingness to believe.
At first I saw that disconnect as evidence of the odd way the show must have come about.
Perhaps the director, Matthew Warchus, hadnt gotten everyone on the same stylistic page?
Friel indulges himself with Teddys character, so Threlfall does too.
The digital audience is capped at the seating capacity of the space, and no recording will remain online.
And I think an audience more than four times the Old Vics capacity would want to see it.
Friels scripts arecrammedwith words, yet they all communicate a sense of peace and suspension and quiet.
