Danton's Death at the National Theatre

Danton's Death at the National Theatre

23 July, 2010
by: Tom Jeffreys

Tom Jeffreys is disappointed by the performances in the otherwise potentially powerful Danton's Death.

The National Theatre is probably the perfect place for a play about the French Revolution. Like the  revolutionary rhetoric of late 18th century Paris, the National Theatre is uncompromising in its modernity – you either embrace it wholeheartedly or turn away in disgust – and like their endless high-falutin' arguments it can be quite tricky to find your way around: there's a logic there, but it's plainly flawed. The main difference, however, is that whilst the National Theatre represents the successful embodiment of a clear and valued vision, the French Revolution, at least as presented in Michael Grandage’s production of Danton's Death, consists merely of radicalism for radicalism's sake.

As the title suggests, Danton's Death concerns the events leading up to the execution of Georges Danton, a firebrand demagogue who, along with close friend Camille Desmoulins, was a highly influential figure in the early stages of the revolution. But as the numerous revolutionary committees continued to arrest and execute each other, Danton's desire for moderation becomes increasingly associated (to some extent justifiably) with the decadence of the Ancien Régime. Eventually Robespierre is given little choice but to sign the warrant for his arrest (under the forceful influence of Louis de Saint-Just) and, in the final dramatic scene, he and his associates are publicly guillotined.

This period in history is a fascinating one and the relationship between Robespierre and Danton lies right at the heart of it. One the one hand there's Robespierre, all prissily fastidious and obsessed with an almost puritanical concept of virtue; and on the other, the passionate Danton – drinker, womaniser and  revolutionary orator nonpareil. By focusing in on these two and their immediate associates, Danton's Death – the first play written by nineteenth century German playwright Georg Büchner – seeks to create something intense and claustrophobic, a feeling expertly emphasised by the 1hr 50 mins running time (no interval) and the high, dark, austere set. This has two effects – one works; the other doesn't.

What the play does well is expose the ludicrous sophistry of those at the heart of proceedings. Their arguments are largely vacuous, and follow only the haziest conceptions of logic. Appeals to “the people” are laughable – everyone here despises the ever-absent “people”; they are merely a tool for the sake of argument. Danton's Death shines a light on the power of words – without common sense or pause for thought, half-baked logic plus rhetorical flair equals a dangerous cocktail. Personal vendettas exacerbate an already inflammatory situation. None of the characters escape – all are murderous, self-serving hypocrites.

But this success is part of the problem. With all of the characters so utterly objectionable, the onus is on the actors to keep the audience involved. We have to care at least a bit, and personally I don't. Elliot Levey's Robespierre is the fussy, boring prig of standard schoolboy stereotype, whilst Alec Newman's Saint-Just lacks the insidious sycophancy which makes the historical character so fascinating. But the real problem is Danton himself. Toby Stephens plays him more like Rick Mayall's Lord Flashheart from Blackadder than the kind of strong, admirably flawed hero that drew thousands to hear him speak. There's no real depth or analysis of motive – only endless speechifying. Woof!

It's possible, though, that this is deliberate. Büchner was something of a revolutionary in his day, and perhaps Danton's Death is meant to serve as a warning over how not to go about implementing “the will of the people”. On the other hand, perhaps it's down to Howard Brenton's new version of the play – “Look at all those silly republican Frenchies,” it seems to say. “We in Great Britain have no need for all this pointless murder, especially not here, in our impressive Royal National Theatre.” In which case, Danton's Death is a successful demonstration of the dangerous emptiness behind radical extremism; the problem is that it's just not a terribly successful piece of theatre.

Danton's Death is at the National Theatre, Olivier until 22nd August 2010.

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Photo credit: Johan Persson; Toby Stephens as Georges Danton.

Tom Jeffreys