Last week, I was lucky enough to see not one, but two plays – the first, The City and the Town, at my favourite Wilton’s Music Hall, and the second, Linck & Mulhahn, at Hampstead Theatre. I didn’t know what to expect for either, but I came away with the conviction that subtlety and nuance are integral ingredients of good theatre. Good art generally, in fact.
The first play, The City and the Town, was about a middle class lawyer returning home to an undefined Northern mining town for the first time in 13 years. The acting wasn’t as strong as everything else I’ve seen at Wilton’s, but the premise was interesting. Reunited with his brother, we see the stark contrast of classes – the returning brother had escaped to Cambridge, read law, gotten married, had children, and bought a house with a large garden. The remaining brother had become a neo-Nazi and was in jail for grooming a thirteen-year-old.
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This is revealed in stages. In the second half, after the funeral, the brothers are joined by Lindsey – the case worker of the remaining brother and the ex-girlfriend of the lawyer. They discuss the situation in emotional, yet exceedingly self-aware terms. The neo-Nazi explains exactly why he’s a neo-Nazi. The ex-girlfriend explains that institutionalised racism is why she didn’t get into Cambridge. The middle class Liberal brother pretends not to understand. It was a bit of a mess, if I’m honest.
Linck & Mulhahn, meanwhile, was receiving rave reviews from theatre publications, so I didn’t want to miss out. It started well – the first half had just the right amount of humour, romance, intrigue. A soldier deserts and works as a tailor’s assistant, only to begin a romance with a young woman, Mulhahn. When the relationship becomes serious, it is revealed that they are both women, but Mulhahn immediately accepts the situation and they get married.
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Now, I didn’t actually know that this was based on historical fact, but when I looked it up during the intermission, I accidentally spoiled the ending for myself. Even so, the second half was noticeably weaker. Mulhahn’s mother catches them in a compromising position and reveals Linck to be a woman, at which point she is tried for sodomy and ultimately convicted to death. Now, this would all have been fine and would’ve made for difficult, but fascinating viewing, if the author hadn’t introduced modern morality into the speeches of her characters.
I found it hard to believe that the doctor – the same doctor who was threatened with death by a deserting soldier – would offer his support. I found it hard to believe that the prostitute – the same prostitute Linck had “given pleasure to” but refused anything in return – wouldn’t be horrified to know the truth. I found it hard to believe that Mulhahn would’ve been so headstrong in trial and still been acquitted. As lovely as the staging and the acting and the first half of the play were, the second half disappointed.
Both plays were fantastic to experience, but there was still something missing in each. As I love to say, they weren’t the “next best thing” I keep searching for.
The City and The Town ended its run at Wilton’s Music Hall on 25 February.Linck & Mulhahn is at Hampstead Theatre until 4 March.