Review: THE TWO POPES, Rose Theatre

 

 

Bishop of Rome, Vicar of Christ, Primate of Italy; the man behind the title has fascinated historians and writers alike.

Before the Netflix hit, starring Antony Hopkins and Jonathan Pryce, came a stage play called The Pope at Royal and Derngate in 2017. Anthony McCarten's thoughtful and witty play is now revived at Kingston's Rose Theatre in a production that deftly combines solemnity with fun in portraying the fictional relationship between Pope Benedict and Pope Francis.

James Dacre returns as director, using the play is an exploration of the two men, their flaws and interactions in the context of the ground-breaking resignation of Pope Benedict XVI and his replacement by Cardinal Bergoglio (the current Pope Francis). The men are engaged in a religious battle between a fiercely conservative Benedict and the more progressive Bergoglio.

The solemnity of the themes is countered by much levity in the production; Benedict's love for Fanta (apparently founded by the fact Coke was banned in Nazi Germany and Fanta was invented as a result), Bergoglio's love of tango and how anyone can take on the most important job of their life when they are about to retire.

It is these moments of fun that counteract what could be staid and stiff play, with the weighty issues of faith, fidelity and a devotion to God. Although the script avoids too much scrutiny of the Catholic Church's attitude towards child abuse, it does mention the disgraceful way that abusive priests were moved from parish to parish. This provokes the thought of why a man (Benedict), who admits his closest romantic encounter was with a girl who let him pick the salt off her pretzel, should have been in charge of dealing with abusive priests in the first place.

The play focuses more on feelings of guilt and forgiveness; Benedict for being protective of abusive priests and Bergoglio for failing to shield his followers from the military junta.

Anton Lesser is, at first, too sprightly as the aged Benedict, but visibly becomes frailer and older as the play progresses; his trembling fingers grasp at his robes, he is uneasy on his feet. He is a rigid, but sympathetic Benedict and Nicholas Woodeson contrasts beautifully as the more human and incredibly likable Bergoglio.

Both men astutely show the layers of the men behind the veneers of their office. Lesser is excellent as a highly intelligent and reflective pontiff, who loves Mozart and the soup dumplings of his childhood. Woodeson shows Bergoglio as a fun-loving, charismatic man with deep humility, who adores football, but also struggles with feelings of unworthiness.

The production feels uneven; the first half, where the two characters are established through conversation with nuns is plodding and a little static. However, when the two men come together, the effect is magnetic.

Jonathan Fensom's design creates a proscenium arch over the Rose's stage, with two smaller frames within. A cosy, simple sitting room morphs, with Duncan McLean's projections, to create atmospheric interpretations of several settings, such as a colourful Buenos Aires chapel, a serene Castel Gandolpho and the majesty of the Sistine Chapel.

McCarten was raised a Catholic, but is no longer practising. The arrival of Pope Francis felt like a new beginning to many Catholics and here we begin to understand why. These men may be God's bishops, but here they are simply human.

The Two Popes is at Rose Theatre until 23 September

Photo Credit: Manuel Harlan

 

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