The Stage

Whose Life Is It Anyway?

Published Friday 28 January 2005 at 17:45 by Peter Hepple

One of the major factors of Brian Clark’s play is that the leading role can be played by a man or a woman. On balance, I believe that the latter is more effective, without denigrating the brilliant performance of Tom Conti in the original production.

But casting a woman adds another dimension to a play which is both intensely moving and, unexpectedly, very funny. Especially when the role is in the hands of Kim Cattrall, Liverpool-born, Canadian-raised and New York-trained, and an actress of exceptional stature.

She is a sculptor who has been left a quadraplegic following a car accident, unable to move anything except her head. The situation is quite simple. In view of the fact that she is never likely to recover the use of her limbs, should her wish to be discharged from hospital to die on her own be granted?

Its television origin is evident because the arguments for and against are simply stated and quickly resolved. Which is as it should be. The verdict of Janet Suzman, as the visiting judge, is detached, logical and popular. Legal wranglings, though more likely in real life, would damage the play.

But back to Cattrall, whose performances in Sex and City left male viewers both drooling and laughing. Managing to be sexy while motionless takes a bit of doing but the actress manages this with ease. Making her plight intensely moving as well confirms that she is an actress of real substance.

The other roles are sketchily written but Ann Mitchell’s stern but kindly senior nurse and Jotham Annan’s funny orderly are worth noting, and Peter Hall proves that he is still our best, as well as most prolific, all-round director.