Sometimes it really is just a matter of right. It can turn the world upside down and erodes health and home; letting right be done, but it is one of the few things that separates us from the animals. A flawless example of this phenomenon can be seen in the Roundabout Theatre Company’s The Winslow Boy. This (1946) Terrence Rattigan is based on a true turn of the (20th) century incident in England. A 14-year old boy has been accused (and expelled for) stealing a five-shilling postal note. It is a minor, at best, infraction but one that is entirely relatable in our modern world. Even without adjusting for inflation one can easily imagine a family fighting to clear the name or rectify a similar slight today.
In this production from The Old Vic and directed by Lindsay Posner it isn’t necessary to impose any modern or personal reality. The story and performances are so compelling and relatable as to stand completely on their own. For almost three hours the audience watches a family, at home, struggle with the realities of doing the right thing. We see them over the course of two years wrangle with declining resources and health. Their uncertainty, certainty, regrets, and pride are real and raw, all of it under the constraints of 1912 London manner. Making period pieces and characters believable and relatable is no easy thing. Often it is unnerving to see only a familiar actor in a wig or buckle shoe. Posner’s actors disappear into the play and all the audience sees is the characters. Mary Elizabeth Mastrantonio (Grace Winslow) is a joy to behold as she rides the emotional roller coaster the events have created. Her husband Arthur played by Roger Rees captures the quiet internal struggles of his class, time and circumstance. Charlotte Parry and Zachary Booth play the elder Winslow children to perfection. It is the youngest boy of the play’s title that is the most surprising. His role, while not huge, is pivotal and he must achieve the most challenging of technical feats. Due to the timing of the incident and length of the pursuit of justice, Ronnie Winslow must age two adolescent years. Many writers and directors suffer from age-blindness and see few gradations from 0-21. Under Posner’s direction Spencer Davis Milford portrays Ronnie with heartbreaking age accuracy. He is almost unrecognizable as he ages from Act to Act. The fragile and vulnerable child morphs into a blasé teenager. He grows up (quietly and subtly) before our eyes.
Henny Russell, Chandler Williams, Michael Cumpsty and Alessandro Nivola are wonderfully cast as Violet, John Watherstone, Desmond Curry and Sir Robert Morton. The set by Peter McKintosh has a smaller role, but a no less perfectly executed one. The living room, with doors opening to the garden and dining room, is a homey depiction of middle-class Britain. The choice to make the set static is wonderfully retro and adds much to the production. The audience feels they are peeking into a window not watching a play.
The Winslow Boy opens at the Roundabout Theatre on October 17th