Review: THE SCREWTAPE LETTERS, Park Theatre

His Abysmal Sublimnity Screwtape sends letters to his nephew, Wormwood, a junior tempter-demon on Earth working on his "patient", leading him towards Hell (where he will be consumed at a banquet). Screwtape is confident in his methods and is aided by a feral half-man, half-beast, Toadpipe, but, as the "patient" slips further from Wormwood's grasp, Screwtape grows ever more agitated, his tried and trusted means of fooling man on to the path to damnation failing, as The Enemy's (God's) ways win out.

If that sounds a bit heavy - well, it is I suppose. Max McLean has adapted CS Lewis's 1942 epistolary novel for the stage and, despite some cuts, retains the author's didactic, fiercely Christian tone which can wear a little in these secular times. As one would expect from source material that unequivocally promotes a religion, there isn't much left for the audience to do, except agree. The usual nuance and shades of interpretation present in scripts never open up - drama is sacrificed for polemic as moral points are driven home relentlessly.

That said, nobody buying a ticket for the show can be in much doubt about what they will see - the author's Narnia novels are much loved, but hardly brimming with subtlety and that was when he was trying to be allegorical!

Within those limitations, McLean (who also directs and plays Screwtape) does a fine job - his demon is full of oily charm, adopting the language and the demeanour of a televangelist (albeit one kicking the ball towards the other goal). He is aided by Karen Eleanor Wight, who writhes and scowls whenever prayer or humility are mentioned, the outward projection of Screwtape's artfully concealed disgust. The two have a cosy relationship, more master and dog than (say) Squeers and Smike, which makes Screwtape all the more dangerous for his apparent humanity.

90 minutes all-through, the play just about avoids overstaying its welcome and it does provoke thought in believers and non-believers alike. Mine was to consider where one might find a 21st century Screwtape, a demon with minions all over the world dedicated to leading innocent souls astray and into lives of dissolution and temptation. Many might suggest the boardrooms of global corporations would be a good place to start looking, so I was surprised to see the production company, The Fellowship for Performing Arts, list amongst its supporters: Chevron Humankind; ExxonMobil; GlaxoSmithKline; and Shell Oil Company.

What would Aslan make of that?

The Screwtape Letters continues at the Park Theatre until 7 January, 2017