Published in The Dark Side #191, 2018.
There’s a joke in this which only one other person will get, and an early appearance of my enmity towards Michael Winner.
THE EXORCIST
Script by John Pielmeier adapted from the novel by William Peter Blatty. Directed by Sean Mathias.
Phoenix Theatre, London until March 10th.
I don’t mind admitting that I’ve got a man-crush on Mark Kermode and in my doting eyes he can do no wrong. However, I’ve never really agreed with his adulation of The Exorcist. William Friedkin’s 1973 film has always left me slightly underwhelmed. Perhaps if I’d seen it in my teens the film would have made more of an impact, but I’ve always considered it to be The Omen’s older and duller relative. Nonetheless it was with an open mind that I saw the show towards the end of its West End run.
Presenting The Exorcist as a stage play isn’t as odd as may first appear, most of the key action takes place in Chris Macneil’s rented house and many of the shocks are dialogue-based. Like the film, John Pielmeier’s adaptation is a relatively faithful adaptation of the book and at just under two hours the pace and tension are kept pleasingly taut, even if the eventual exorcism itself is slightly anti-climactic.
Jenny Seagrove plays the mother who has to deal with a grotesque creature in her bedroom, doubtless bringing back memories of her time with Michael Winner. Peter “I use the public bar” Bowles is the titular Father Merrin, with Adam Garcia as the troubled Karras. The cast are solid, although Bowles seems rather muted. I suppose priests aren’t always the most charismatic of people, but Merrin does seem to spend the second act somewhat distracted despite the demonic cacophony surrounding him. There’s good support from Tristram Wymark’s Burke but the standout performance is from Clare Louise Connolly who effortlessly portrays Regan’s transformation whilst still showing us the scared little girl within.
Whilst the acting should always be the primary element of any play it’s obvious that a stage version of The Exorcist is expected to provide some impressive effects, aural and visual. The former are courtesy of Sir Ian McKellen’s demonic voice-over which is wonderful, expertly alternating between humour and savagery. The physical effects are quite astonishing, Sean Mathias’ production makes excellent use of the stage space and there are at least two occasions which will leave you doubting the evidence of your own eyes. All of your favourite scenes from the film are present – I’ll say “crucifix” and move on – and no matter how you rate the original, this is a fine piece of theatre. The power of Christ compels you to see this play. 4/5.