Review: GABRIEL, Richmond Theatre

In a plot more than a little reminiscent of Daphne Du Maurier, Gabriel sees Jeanne Becquet trying to keep her young daughter and Jewish daughter-in-law safe under the ever-increasing threat of the Nazis in German-occupied Guernsey in 1943.

When a young man washes up on the shore near the house, it is not clear who he is or where he comes from. Fluent in both German and English, it becomes increasingly clear that his presence in her house is incredibly dangerous and one wrong move could spell disaster for Jeanne and those closest to her.

Belinda Lang is effortless as Jeanne. Waspishly funny, her cut-glass accent and impeccable stature hide a quiet desperation; her husband is dead, her son missing in action, and she has history of affairs with German officers. She is smart enough to know that normal rules do not apply in wartime.

Paul McGann is creepily realistic as the menacing German Major Von Pfuntz. His officers are occupying Jeanne's family home and so he is a constant presence. With his small, round-rimmed glasses and severe side parting, he shows Jeanne respect as he rebuffs her advances. He is actually likeable in his easy manner and does not want to exploit Jeanne for his own satisfaction.

It's not until the second act that his more alarming characteristics are revealed. He shows cold venom towards Jewish Lilly, but even more disturbing is that he believes there is true and pure poetry in what he has witnessed in the Nazi death camps in Poland. McGann is entirely convincing as this complex character.

This is the most interesting relationship in the play, as it's clear that while Jeanne is disgusted by Von Pfuntz and his presence in her house, she is also aware that she must offer him bargaining chips to keep her family safe.

The voice of resistance comes from Jeanne's young daughter Estelle, played by Venice van Someren. She petulantly rebels against the occupation, bravely causing mischief amongst the German officers and refusing to apologise. Van Someren convincingly flounces around the stage, conveying the character of an angry and confused child very well.

Sarah Schoenbeck and Jules Melvin provide able support as daughter-in-law Lily and housekeeper Lake, although Melvin's lines are occasionally so quiet that they are inaudible.

The most underwritten character is the mysterious Gabriel himself. Named by Estelle, he has no memory of who he is or what he does. He could be a British pilot, a German SS officer or something else entirely. Robin Morrissey works well with what he is given, especially when his character falls into fitting spasms, but the enigma of his character means that it lacks some depth.

This is perhaps writer Moira Buffini's intention: to add a layer of mystery to the plot. The underlying danger of the situation is constantly present and the suspense is built up beautifully by Buffini's writing and the acting of the cast. Kate McGregor's direction keeps the action constant, although the experimentation with the supernatural is a little vague and does not ever tie up satisfactorily.

Carla Goodman's beautifully dressed set is elevated on different levels to show the darkness below the house, the ground-floor kitchen, and what becomes Gabriel's room in the attic. A vast expanse of sky is always visible, with menacing-looking clouds that change colour and atmosphere with Will Evans' clever lighting. There is more than a subtle hint of the levels of hell, earth and heaven.

The play contains a powerful message about good and evil. What is right and wrong becomes increasingly blurred as the realities of wartime occupation are felt. Survival is all that matters.

Gabriel is at Richmond theatre until 1st April and then touring

Photo Credit: Robin Savage

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