Last night saw the final performance of this year’s Charleston Festival, and it seems they saved the best until last. We were thrilled by the acting, the content and the delivery of a unique piece of theatre that we will savour.
Christopher Isherwood’s Berlin in the days of the Weimar Republic is now a well-documented and celebrated period of history, recalled in several films, most famously Cabaret. But when he was there, living it, recording the day-to-day in his diary, observing and thinking about the stories he might tell in the future, it was a very hidden experience. He went on to create a stable of successful novels and stories, providing an authentic voice for a largely lost community. This performance aimed to evoke the feel of those days, and it delivered on every level.
The performance began with an introduction from Holly Dawson, Reader in Residence at Charleston Farmhouse, who delivered a passionate speech on the origins of the stories, their importance to the world, and their relevance to today’s society. She introduced the players for the session, Olly Alexander (Years and Years, It’s A Sin) and John McCrea (Everybody’s Talking About Jamie), who launched into the story.
Using diary fragments, quotes from the novels, snippets from letters, and Isherwood’s autobiography, the piece stitched together a narrative that took us through his early days in Berlin, the challenges of the Second World War, and into his later life. The actors passed the storytelling back and forth, moving seamlessly between first-person and third-person personas, which added texture to the scenes.
We were extremely impressed by both actors. McCrae’s ability to vary the speed and intensity of his delivery gave him opportunities to build tension and also add his own flair to the text. Olly Alexander seems to relish certain phrases, particularly the more salacious ones, her personality bubbling up and perfect for the role. His eye contact was amazing, drawing the whole room to him. We felt the casting of these two actors was so well-suited to the roles they portrayed, and it felt like they were speaking lines they could have written themselves.
This performance was a one-off, never to be repeated and commissioned especially for the festival. We felt incredibly lucky to be there, as we could see it commanding a successful West End run. What was clear, but not dwelt on, was the quality of the writing. Speaking with Holly Dawson after the event, we learned that she had written the entire piece, meticulously researching the various texts to ensure that every word was Isherwood’s own. It was the way they were combined to create the story that mattered most, and we can only imagine the process that was undertaken to achieve this.
The Charleston Festival, now in its 37th year, has created a number of pieces in this style over the years, and whilst we are disappointed to be able to see this wonderful production again, we are looking forward to seeing what might be on the programme for next year. The lovely space they have created for writers and readers to enjoy each other’s company, and the care and attention to the grounds and festival spaces make this a perfect outing for anyone who loves books and literature. Congratulations to all involved in this unique evening – it was one of the highlights of our year so far.
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