Written and performed by Susie Lindeman, SARAH Quand Même runs through the story of “La Divine” of the theatre and the star of the first feature film, Sarah Bernhardt (1844-1923).
Born in France and a gifted actress, painter and sculptor, Bernhardt is still the stuff of legend today, although this play assumes a lot of prior knowledge of the subject, from Sarah’s career to her personal life.
Playing both Sarah and her granddaughter, Lindeman doesn’t offer much change in voice so you can easily lose sight of who is speaking. I wasn’t convinced that the character of Lysiana was really needed.
As the great actress, Lindeman is on the cusp of high drama and hysteria most of the time, with a strange childlike voice and heavy French accent.
We will perhaps never know if this is a fair portrait as evidence of Bernhardt’s voice is scant, and only a handful of films give a sense of her mute performance. Queen Elizabeth (1912l and Mothers of France (1917) are the easiest to locate.
I loved the set (by Justin Nardella), which includes a chaise longue and traditional theatre dressing table, while the main action takes place on a stage within a stage, offering many grand exits and bows for the character.
With a sense of where we are in terms of the year – sometimes we are in Bernhardt’s later life, sometimes back in her theatrical triumphs – this would be a sharper piece.
We know she lost a leg in around 1915, but that information seems purely incidental to the play, rather than a life-changing incident.
Although I went in knowing quite a lot about Sarah Bernhardt’s life and career, SARAH Quand Meme didn’t quite make me feel I had met a strong, sexy, successful woman who attracted so much devotion.
As Lindeman explained when I interviewed her recently, the choice of venue was because it is near the part of London Bernhardt once lived in, and it has a strong theatrical heritage.
There is even a photograph of Henry Irving and Ellen Terry n the ladies’ loo as well as along the stairwell up to the theatre.
I also applaud Lindeman for keeping the fourth wall intact throughout her performance despite interruptions from ringing mobile phones and unplanned intrusions into the space, plus what sounded like a mini-party outside the gents.
In such a small venue, though, sometimes a play which has such a strong barrier between show and audience might not be the best choice. Sarah is a big personality, an icon, and legend. Can a 51 seater theatre really contain her?
SARAH Quand Même (directed by Wayne Harrison) resurrects a theatrical legend – it was created in Paris for the centenary of Bernhardt’s death – and at least tries to present something of “the truth”.
Having tracked down her late life co-star and lover Lou Tellegen’s flowery memoir a while back, his recollection of her offers an interesting companion to Lindeman’s creation here.
SARAH Quand Même is an interesting watch but rather one note, and 90 minutes – advertised as 80 – feels a bit too long.
It continues at the Drayton Arms Theatre until 2 Mar with tickets here.
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