The Stage

Wallenstein

Published Tuesday 2 June 2009 at 11:15 by Michael Sell

Although to compress the Schiller trilogy into less than three hours is a significant feat, inevitably some of the original balances and emphases alter.

However, Mike Poulton in this world premiere adaptation has nevertheless produced a dramatic piece of substance. Set in the Thirty Years War, itself an extremely complex international, religious, military and political episode, the play seeks to identify the way in which Wallenstein, hitherto the saviour of the Holy Roman Empire, finds himself longing for peace, almost at any price.

This frame of mind brings to the fore the arguments about loyalty, personal aggrandisement, honesty, love and honour. This can be viewed as a very modern and dark end game in which Wallenstein’s own philosophy is largely lost in his desperate attempt to create order. His lack of success is because he wants peace but he is only really effective in war.

Iain Glen plays Wallenstein as a failing, charismatic figure rather than a physically demanding individual, but shows both strength and vulnerability in a highly effective way. His generals are all men of action but the Octavio of Anthony Calf, the spy in the camp, is particularly strong and his son Max, played by Max Irons, is delightful as one of the young lovers with Princess Tekla (Annabel Scholey). The Countess Terzky is a fine performance by Charlotte Emmerson and John McEnery plays both the Minister for War and Gordon with great skill.

The play is directed by Angus Jackson. Design by Robert Innes Hopkins makes good, if slightly repetitious use of the small area.