The ins and outs of the Middle East peace process is certainly one of the things that I, somewhat shamefully, could use some education on. I had heard, for example, of the Oslo Agreement, and was vaguely aware of what it was, but I had no idea how extraordinary the process to get to it had been nor how important it is to the wider context of relations in that part of the world.
I don't think, though, it matters how informed about Middle Eastern politics you are when it comes to the merits of the National Theatre's production of Oslo, J T Rogers' all conquering play about the titular agreement's negotiations, conducted to varying degrees of international secrecy by a team of Norwegian diplomats and NGO staff. Whatever your previous knowledge - and this play certainly doesn't presuppose any - it is a gripping, thrilling, unexpectedly funny and even more unexpectedly hopeful piece.
Rogers' writing is brilliant: quick, witty and utterly free of judgement (not dissimilar to James Graham actually which is more than fine with me). One of the extraordinary tricks of this play - and this production - is that it includes an enormous amount of exposition and context without ever feeling dull or flabby. In the writing, this is achieved by the really effective use of a narrator who introduces key characters and explains, with some help from the set, the historical context of what is going on. The narrator is one of the characters in the drama who simply breaks the fourth wall briefly when needed. It works so well, never slowing down the action and helping to make the play accessible to a non-expert audience. The fact that that narrator is 99% of the time a FEMALE CHARACTER (caps necessary) is depressingly close to a revolutionary approach. I mean, a woman getting to drive the narrative in a political play! Amazing! My only notable quibble with the writing is that, having driven the story all the way through, it's her husband that gets the final word and that final word is a judgement on the process that the rest of the play seems to have worked hard to avoid. The continued ambiguity would have been more effective, in my view.
Perhaps the most extraordinary trick in the writing of Oslo, though, is that it remains a gripping and hopeful play despite the fact that everyone in the audience knows, or can at least Google, what ultimately happens next. I love the fact that, this aside, it also makes no attempt to shy away from what happens next either. It's a deeply intelligent and sensitive approach. I love this play the more for it.
This production, a transfer, it should be said, from New York's Lincoln Centre, is also a triumph. Director Bartlett Sher's vision is outstanding and the fact he makes this play, which at three hours is something of a beast, feel short and sprightly is a marvel. The design is stunning and amongst the most effective I've seen in theatre, possibly ever. The use of projection in particular is quiet genius; using a white set to show film of what's happening in the outside world (getting rid of some of that pesky exposition) as well as to project scenery onto. The lighting is great, especially the way the scenes which are being narrated are lit to effectively split the stage in two: the narrator's bit and the action. It is a truly gorgeous looking and gorgeously functional thing.
The small cast, all new to the NT's production, is terrific. Lydia Leonard as Mona Juul, central character and narrator, is superb and deals with all of her various narrative functions perfectly. She is utterly believable, fiery and inspiring (and, from what I can work out, loves the real life 'version' of her chararcter as much as I do). Toby Stephens, as husband Terje, is a great foil for her. He is arguably the more complex of the two, in that he is clearly a bit of a dick as well as being a good guy, and puts across the perfect balance of drive, charm and humour. The latter he particularly excels at. Kudos also to Peter Polycarpou as a mischeievous, passionate and above all human Ahmed Querie, a man who doubtless some people would class as a terrorist to this day.
Oslo has had plenty of hype in its relatively short life and, pleasingly, it is one of those rare cases where the hype is entirely justifiable. It deserves all of the awards and accolades it's won (so far) and similar recognition for this production would not be unfair. See it.
Oslo is in the Lyttelton at the NT until 23rd September, after which it transfers to the Harold Pinter Theatre in the West End.