The far extremes of reason and religion
IN EXTREMIS
Global Theatre
PLAYWRIGHT Howard Brenton’s has chosen the old chestnut of religion versus reason as the crux of his new play In Extremis – a true story of two 12th century lovers, the brilliant scholar Abelard and his beautiful gifted pupil Heloise.
A short walk west up bankside to the National Theatre, Brecht’s Life of Galileo is doing the same thing.
In Extremis cannot rival that production – as little has this year – it is perhaps the first notch in Dominic Dromgoole’s stuttering start as artistic director of the Globe. Like Brecht, Brenton examines the dangers of discussing man’s place in the world, especially when it runs contrary to church thinking.
Stories like this make you wonder who, if anyone, is plotting the next great new human future in our time. For that reason, the production is intriguing.
Set in Paris, around 1115, Peter Abelard (Oliver Boot), a philosopher and teacher, falls for Heloise (Sally Bretton). They have a child and Abelard is punished with castration. The two lovers are separated – in exile they join separate religious orders.
Abelard maintains that God, having given us our own thoughts, wants man to be led by reason. There were admirable performances, especially from Sheila Reid as Helene and Fred Ridgeway as doting uncle Fulbert.
But too often the show lurches into pantomime, to an extent undermining the drama on stage.
Until Oct 7
CNJ booking line: 0870 040 0070
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