Ross

Terence Rattigan’s Ross is a ‘dramatic portrait’ of T. E. Lawrence, aka Lawrence of Arabia, one of the most enigmatic and charismatic characters of the twentieth century. The most famous ‘dramatic portrait’ of Lawrence is possibly David Lean’s extraordinary 1962 masterpiece film Lawrence of Arabia. Pre-dating Lean’s film by a couple of years, Rattigan’s Ross was first produced in London in 1960 with Alec Guinness as Lawrence.

I am deeply grateful to Adelaide’s Independent Theatre Company for their production of Terence Rattigan’s Ross; quite simply it gives one an opportunity to see one of Rattigan’s plays. Whilst some of Rattigan’s plays are still regularly and successfully professionally produced in the U.K, in Australia it’s a different story. In my fifty-odd years as a passionate and obsessed theatre-goer and practitioner I couldn’t recall a single professional production of a Rattigan play. It is only in the UK that I have seen professional productions, namely Separate Tables, In Praise of Love, The Winslow Boy, and Cause Celeb.

Watching this very fine but uneven production of Ross threw up a number of thoughts and images. The unevenness of the production may be somewhat due to opening night nerves etc, but also the epic sprawling nature of the play. This is a play that demands a large cast, with numerous English and Arabian characters, and one American, all of whom for the most part are based on real people.

Independent Theatre’s production is very straightforward, no-nonsense and stream-lined, the narrative moving quickly from scene to scene. This is necessary, not only to capture the epic sweep but at 3 hours length this play needs good pace.

The main highlight of this production is the central performance by Will Cox as Lawrence. It holds real depth and restraint – an intelligent, articulate and ultimately moving performance. Unfortunately, for the most part he is not matched by others in the cast, with the notable exception being David Roach as General Allenby.

It was the scenes between Lawrence and Allenby that for me were the best parts of this production, with both actors listening and responding, talking ‘to’ and not ‘at’ each other – simple, clear and effective. As for the rest – well – there was awful lot of ‘strutting and bellowing’ which whilst sincere was just simply shallow and not trusting Rattigan’s words. Yes – there are small characters, but Rattigan is too good a writer to not give them any depth. They are not caricatures, which sadly they tend to become in this production. It is not enough to be sincere and earnest; those qualities, according to Louis Jouvet, could cause the death of the theatre. Being sincere and earnest is not good acting; in fact it smothers any potential for range, diversity and spontaneity.

In many ways, Ross encapsulates a number of aspects that are characteristic of Rattigan’s work. His plays generally deal with an outsider, a loner, male and/or female, who is in a life and death battle with the morals, ethics and conventions of an oppressive (English) society. His plays can also be read and seen as something deeply subversive.

There is also Rattigan’s aesthetic when it comes to history – who owns it, and who controls it. Winston Churchill is generally credited with saying ‘History belongs to the Victors (or Winners); but in the case of Lawrence there is an added complication. This is most apparent in the first half of the play, beginning in 1922 when Lawrence is endeavouring to achieve a kind of anonymity within the Royal Air Force.  After his identity has been revealed (for monetary reasons) the play becomes a ‘memory play’; we travel back to the 1916 ‘Arab Revolt’ in which Lawrence’s legendary status resides. The emotional climax of Act One, however, is not the taking of Akaba, but Lawrence’s agonizing cry to his 1922 self – ‘How do I become you?’

The second half of Ross is more concerned with the journey to reveal why Lawrence desires anonymity. It is eventually revealed that the reason is ‘guilt’ – again, another common aspect in Rattigan’s characters. In this case Lawrence feels guilty because he feels like he failed the Arabs – but there is something more, something more personal, which is the respective deaths of his two boys Hamed and Rashid. This is not based on Lawrence – but is pure Rattigan. Finally we are at the heart of the matter – and that is Lawrence’s homosexuality – and Rattigan’s too, for that matter.

There is much speculation about Lawrence’s rape at the hands of Arab forces, with the dismissive tone that he may have actually enjoyed it. How anyone can imagine that rape is a pleasurable experience is beyond me! Rattigan, and this production, certainly do not present the rape as enjoyable; nonetheless, during these scenes  I couldn’t help but make comparison with how homosexuality is dealt with now as compared to 1960, way before the ‘Gay Rights’ movement began. Typically of the period, Lawrence’s homosexuality was treated like a kind of sickness, his seeming denial provoking the Arab commandant to have Lawrence beaten and raped.  I had to grip my chair as these scenes unfolded.

I am not sure what audience this production of Ross will attract; it may only reach out to and appeal to Lawrence and Rattigan aficionados. Nonetheless, if you are either, as well as enjoying unusual theatre-pieces, then you should enjoy this production. I most certainly did, with all its flaws.

Tony Knight

Photographer: Jacqui Munn