Making his National Theatre debut, Anthony Lau directs a stylish revival of Terence Rattigan’s story of power, corruption and greed, last seen in London over twenty years ago.
Set in 1934 New York, the production revels in its theatricality. An illuminated billboard is suspended above the stage, which uses the typeface and style of the 1930s to display the cast list. As the characters come on stage, their names light up. With music playing, it is reminiscent of the start of a Busby Berkeley musical.
The intimate in-the-round confines of the Dorfman and the simple set give the cast nowhere to hide. There is a green carpet, three large tables that form a stage upon a stage, a clothes rail, a piano, and some chairs. The actors jump and slide on and off the tables with gusto, sometimes even sitting on the chairs on top of the tables. Listen carefully at this point, and you will no doubt hear someone in the audience muttering ‘health & safety nightmare.’
It is an energetic show. There is a lot of movement around the stage and on and off the tables. The whole cast is given quite a workout. Athletic prowess must have been an important casting requirement. The lighting rig is equally active, moving up, down and over the stage, taking on odd angles to enhance the mood.
If all of these things sound like they might be a distraction from the show, they are not. The staging works well, supporting both the high drama and even the most heartfelt and emotional lines. The kinetic nature of the performance lifts what could otherwise be a rather static show, given the didactic nature of some of Rattigan’s writing.
Man and Boy is the story of Gregor Antonescu, a powerful and ruthless businessman whose commercial empire is on the edge of collapse. He is trying to save it through a merger with American Electronic Incorporated (AEI) and will do whatever it takes to make this happen. Ben Daniels as Antonescu adopts a convincing Romanian accent for the role and delivers a tremendously powerful performance. He gives us a character that is both dangerous and unpredictable. Every time he starts to charm us with his softer side, it is immediately withdrawn, and we are taken to some dark, uncomfortable place. Prepared to go to any lengths to save his fortune, Antonescu even offers his son to the covertly gay mogul of AEI, saying, “love is a commodity I can’t afford”.
There is a strong supporting cast. Antonescu’s son Vasiliy is deftly played by Laurie Knyaston. Vasiliy has changed his name to Basil Anthony to escape his father and initially displays annoyance and even abhorrence at the return of his father and the surfacing of their past issues. As the play progresses, we see his affections soften, but he gets very little in return. AEI supremo Mark Herries is played by veteran actor Malcolm Sinclair, and Antonescu’s wingman, Sven Johnson (Nick Fletcher), helps demonstrate the brutal traits of the larger-than-life Antonescu.
This is not a play that depicts strong women. Vasiliy’s girlfriend, Carol Penn (Phoebe Campbell), has little to do and Isabella Haughland as Countess Antonescu is nearly superfluous to the plot, other than to confirm the affectionless way she is treated. I am only used for “sex and signatures,” she tells us.
Ultimately, the plot may feel a bit far-fetched, even absurd at times, but this is Rattigan for the Succession generation – a caricature of toxic masculinity, dishonesty and coercive control. Sadly, there is as much sleaze in the world today as when this play was first performed in 1963. Some 60 years later, we can all still relate to the idea of men in power doing everything they can to hang onto their wealth and influence.
Man and Boy is not an uplifting work. Its main character seems to have no care for anyone but himself. Others are left damaged by his passing through their lives. But despite this, with moments of wry humour, terrific acting, and imaginative staging, this is an excellent and compelling piece of theatre.
Review by Fiona Gilbert
‘In finance man makes his own miracles’
Jazz, Broadway and the Great Depression. In 1930s New York City, international financier Gregor Antonescu’s luck has finally run out. As news of a catastrophic business deal ripples across the world, he flees to the apartment of his estranged son Basil.
Truths are uncovered and relationships are tested as Gregor gets down to business, to save his reputation and keep his empire from collapse.
Phoebe Campbell – Carol Penn
Ben Daniels – Gregor Antonescu
Nick Fletcher – Sven Johnson
Laurie Kynaston – Basil Anthony
Isabella Laughland – Countess Antonescu
Malcolm Sinclair – Mark Herries
Leo Wan – David Beeston
Director – Anthony Lau
Set and Costume Designer – Georgia Lowe
Lighting Designer – Elliot Griggs
Choreographer and Movement Director – Aline David
Composer – Angus MacRae
Sound Designer – Giles Thomas
Intimacy Director – Haruka Kuroda
Casting Director – Martin Poile CDG
Dialect Coach – Aundrea Fudge
Voice Coach – Cathleen McCarron
Associate Set and Costume Designer – Joy Chen
Staff Director – Rachel Lemon
MAN AND BOY
By Terence Rattigan
National Theatre
30 January to 14 March 2026
