THE ROMANS IN BRITAIN

By Howard Brenton

The Crucible Theatre Sheffield – 8/2/06

When ‘The Romans in Britain’ was first staged at the National in 1980 it resulted in Mary Whitehouse, the self appointed protector of our morals, mounting a private prosecution against the director of the play, Michael Bogdanov. This was for the crime of simulating gross indecency on stage, particularly scenes of nudity and an attempted buggery. (The prosecution failed). Now, a quarter of a century later ‘Romans in Britain’ is back and is perhaps just as likely to court controversy again.
Already John Beyer, the director of Mediawatch UK, said he could not see the point of a revival and he urged the theatre to be mindful of existing legislation. "Any production of this play has to abide by the law of the land," he said. "I do not accept that the male rape scene is acceptable just because the author of the play says it is symbolic of the rape of Britain." Also Canon Adrian Alker, the vicar of St Mark's Church, Sheffield, said: "I am concerned about its effect on young people or school students."

Having seen the play for myself last night I can assure you that the controversy is all just smoke and mirrors and for anyone, young (over 14) or old, that this production is an absolutely essential piece of theatre, no doubt just as relevant, poetic, funny and ultimately touching as it was when it was first staged.

To set the scene, then – and on with the review, the stage is dominated at the back by a large rock, some 15m high, which contains in its centre a very deep pool of water and waterfall, which is used to great effect throughout the piece. The sound of running water is always wonderfully evocative. The stage in front is dressed in varying shades of green, no doubt to represent this green and pleasant land of ours, and too is realized very well.

Quickly we are introduced to two very funny and interesting characters. A couple of miscreants who are existing in the bleak landscape of ancient Britain, as best as they can. It is only when one of them is brutally murdered do the audience begin to realize what might lay in store for them throughout the rest of the evening. The murderers, three brothers, then take over the action of the storyline until they too are brutalized by the ‘heroes’ of the title – the Romans. Two of the three are themselves murdered quickly and then the three centurions decided to have a little fun with the last brother, ironically training to be a priest, who is tortured, slashed with broad swords and then buggered. (Quite literally and in more ways than one).

Whilst twenty five years ago this scene may have caused an outrage, with the advent of the internet and programmes like ‘Rome’ still fixed in our minds it will take a lot more than a few willies bouncing around and some quickly simulated buggery, for the main part played out under water and out of sight, to offend our sensibilities today. Anyone who actually sees this play will tell you that if you can’t be mature enough to realize that this is theatre, and a very good piece of theatre at that, then you shouldn’t bother turning up or complaining. Certainly the 80 year old lady that I got chatting to after the finish of the play, wasn’t offended at all and seemed to find it amusing that anyone ever had.

After his humiliation, the roman soldiers are amazed that because of his religious teachings that he speaks Latin and take him to see Caesar. Caesar, after ordering another 50 lashes to add to his pain decides to let him go free. The priest then rushes off to tell his community of the impending doom that is to come in the shape of the Romans, before taking his own life in shame. This half of the play is particularly strong and well acted by all concerned, so well that it would be unfair to single out any member of the cast, as this truly felt like an ensemble piece. All the actors can feel truly proud of themselves.

What did come across well was even through all the horror and awfulness that invasion brings, just how funny this play manages to be as well. Sam West has obviously taken time to reveal the humour, and I think most of the audience was surprised by just how many times they were allowed to belly laugh throughout the proceedings.

  Another marvelous piece of writing, and very effective to the whole tone of the piece, was the use of words such as ‘nigger’, ‘nog nog’ or ‘wog’. And whilst that might sound incredibly offensive what must be stressed is that most of the time these words were being used by white people to describe other white people. In other words the playwright was allowing us to realize that words such as these, whilst obviously different back then, nevertheless were still around and being used in a derogatory context about those people whose land was being invaded and desecrated.

It is at this point, just before the half that we come shockingly into the recent past and the troubles in Ireland. The point being made, of course, that as the Romans invaded Britain, so we too are colonizing a country that is not ours.

In a way, it is a shame that this parallel has had to be drawn as the first half seems the strongest and most enjoyable and it would have been nice to see the story continue in this vein. Not that the second half is without its moments, but it was almost with a sigh that we realize the author also has a point to make and is about to give it to us strongly, so to speak. The second half flitted around in time more than an episode of Doctor Who, from the Ireland of the 80’s to Ancient Britain. Scenes and dialogue crossed over in such a way as to make obvious the point that nothing really changes – that there were oppressors then and there are oppressors now. (Perhaps we all get a turn to see what we can learn from the experience). As we English fought against the invading Romans for our freedom, so too did the IRA and so too now are the young disenfranchised Muslims of this country. All terrorists. All oppressors.

Whilst there are some longuers in the second-half, it does build to a very moving climax, surrounding a British military assassin giving up his life and renouncing the blood and horror to be found in all of our collective histories. The assassin renounces violence and pays for it with his life, his slaughter, his sacrifice an obvious but still heart-renching allegory on the life of Christ.

The ending, although utopian offers us a hope for an England and indeed a world that one day may come. We would all like to build a Camelot, a dream that started some 2000 years ago with a sacrifice on a cross and, as this wonderful play clearly shows, is still being dreamt of today.

Wonderful! Sublime, in fact!

By Paul Tyree

http://www.paultyree.co.uk/ 

Thursday 02 February to Saturday 25 February 2006
Tickets: £10 - £17