Wednesday 24th September 2014, 8:00pm, Theatre Royal, Sydney
Well recognised British actor David Suchet is joined by an international cast to bring Roger Crane's mystery,
THE LAST CONFESSION, to Australian audiences with the right mix of emotion, passion and humour. Crane explores the sudden death of Pope John Paul I, 33 days after his election in this cleverly constructed play that draws on factual events and challenges beliefs.
Mobile high grills with inbuilt ornate doors serve to transform the stage from the corridors of the Vatican to Papal offices and St Peters Basilica as Suchet's Cardinal Benelli takes the audience through a history of the events from a point in time prior to Pope Paul VI making Benelli a Cardinal as he makes his last confession to his Confessor (Philip Craig) ensuring that that audience does not need to have a prior understanding of the history of the Catholic church.
Benelli's recount serves to introduce the key figures in the Church at the time including Stuart Milligan's imposing Bishop Marcinkus who's management of the Vatican Bank is under suspicion, Nigel Bennett and Kevin Colson's Cardinal Villot and Cardinal Baggio respectively, who wield a great deal of control over Pope Paul VI and seek to continue doing with subsequent Popes and David Ferry's Monsignor Magee who rounds out the group that appear to be against Pope John Paul I and Benelli. Richard O'Callaghan's Cardinal Luciani is introduced as a friendly character with liberal views but with no aspirations for power despite Benelli pushing him to enter the running for election on Pope Paul VI's death. Roy Lewis's Cardinal Gantin and George Spartels' Cardinal Lorscheider are introduced to represent the more liberal African and South American parts of the church that support Benelli. Through this Benelli's character is shown to also hold a great deal of power starting with Pope Paul VI's succession planning in making Benelli a cardinal as 'an archbishop cannot become pope' and the trust that Luciani, Gantin and Lorscheider place in him which Suchet presents with the right level of authority and underlying ambition.
Upon Pope Paul VI's death, as the conclave come to vote for the next Pope, the strategizing and politics of the election is highlighted as the greed for power becomes more evident and the two camps are more defined. Despite protestations that the selection of Pope is the will of the Holy Spirit, "Cardinals make Popes" and Benelli's hand in manipulating the outcome becomes evident as he gathers support for Luciani, despite Luciani voicing his opposition to running for the position. A feeling by the conservative cardinals that Luciani is not fit to be Pope is alluded to in the observation that "even the robes don't fit" despite the reality of robes being made in three sizes. O'Callaghan's endearing portrayal of Luciani/Pope John Paul I is consistent with historical accounts that he was warm character that wished to connect to the people and his development of conviction that he should be allowed to make changes makes Villot and Baggio's continuous attempts to undermine his power and "bury him in paperwork" more evident. O'Callaghan's Pope John Paul I is supported by Father Lorenzi (Sam Parks) and Sister Vincenza (Sheila Ferris) which highlight his interactions with lower ranks of the church and his connection to the people and also add some comic relief.
Through the scenes Benelli narrates his confession, slipping in and out of the conversations smoothly and the simple set changes are executed without any drag on fast the plotline and provide a variety of settings and options for entrances and exits. Whilst little furniture adorns the stage, in scenes like the Pope's office, they serve to reinforce the characters. Pope Paul VI's more opulent desk is replaced with a larger more useful plain desk when the more down to earth Pope John Paul I is elected. The costumes are detailed down to the older cardinals having more faded Cossacks than the younger ones and movements between rank is nicely represented by the changing of robes onstage rather than occurring off stage, showing a degree of the ceremony and ensuring that the change in position is clear.
In amongst the seriousness of the corruption, manipulation and potential murder, there are some very clever lines ensuring roars of laughter from the audience. The wealth of talent in the international cast is evident as dialogue is delivered with clarity even in the moments of extreme anger and subtle actions reinforce the underlying tensions and emotions.
Given that anomalies surrounding Pope John Paul I's death, THE LAST CONFESSION is a combination of history and probable fiction. It questions the operations of the church, highlights the corruption, gives and insight into the underlying greed and politics and exposes who is really in control of the decisions. With Benelli's questioning of his own faith, it may also prompt the audience to question what they believe as it isn't hard to believe that some of the practices still exist given that some of the same issues that Pope John Paul I and Benelli were trying to address are still present.
THE LAST CONFESSION is a though provoking exploration of a real unsolved mystery that would appeal to those interested in history and mysteries, conspiracy theorists, fans of Suchet, and generally people that enjoy an international standard of theatre.
The Last Confession
TicketmasterTheatre Royal Sydney
Till 12th October 2014
Photo: Supplied
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