Review: CREDITORS, Starring Charles Dance, Orange Tree Theatre

Orange Tree artistic director Tom Littler first directed Howard Brenton’s adaptation of August Strindberg’s Creditors at Jermyn Street Theatre in 2019, in rep with Miss Julie. He has secured quite a coup in gathering such a star-studded cast of acting veterans with Geraldine James, Nicholas Farrell and Charles Dance in this wonderfully performed but underwhelming production.

A three-hander imbued with misogyny and mind games, Strindberg was well ahead of Freud in his analysis of relationships. He also clearly took inspiration from Shakespeare in this play of how to mess with a man’s head so he believes his wife is both cruel and unfaithful.

In a seaside hotel we meet Adolf; an artist in crisis. His successful wife Tekla is away on a short trip and he has made a new friend, Gustaf. In a matter of days, Gustaf drips poison into Adolf’s ear. He is persuaded to stop having sex with his wife to halt the possibility of developing epilepsy; that his wife is not only disloyal, but has cannibalised his artistic ability; that he is unable to paint anymore and must turn to sculpture. When Tekla returns, she is confronted by her tortured husband and also by a past that returns to haunt her.

Strindberg is more famous for Miss Julie, but he saw Creditors as his masterpiece. I would have to disagree. Structurally the set-up conversation between the two men is far too long, important plot details such as Tekla’s decision to a give her baby away as he looked too much like her ex-husband is never explored and the twist in the tale is easy to spot from the start.

What could be a fascinating study of the transactional nature of relationships and revenge is hampered by a lack of tension and a barely credible plot. Even bearing in mind the social sentiments of the time, Gustaf’s cod psychology is unconvincing and often glib. It is hard to believe that Adolf would listen to and accept everything Gustaf confidently tells him, even if Adolf is particularly gullible. This is especially true as the pair are not long-term friends, but two people who met only eight days ago.

It's a shame, as the trio are spectacular to watch. Dance is masterfully poised as Gustaf; confidently measured with a touch of real menace. His toying with Farrell’s Adolf is like a cat prodding at an unsuspecting mouse. Farrell himself is convincingly unsure, neurotic and inherently weak, almost happy to be convinced that his wife is sucking the life out of him. He shows a man fraying at the edges until he almost disintegrates.

James gives Tekla independence and agency, with confidence in both her professional abilities and her sexuality, which ultimately must be punished. The trio have wonderful stage presence, magnified by the intimacy of the Orange Tree set-up and do a magnificent job with what is very average material.

Set and Costume Designer Louie Whitemore gives the seaside hotel a bright blue and white colour scheme, with the cast in muted calico and faded yellow tones. David Howe’s lighting is veering on the overly bright, but Max Pappenheim’s gentle sound design gives us lapping water and very muted background noise.

Littler directs with intelligence and a smart pace, but you do wonder what this remarkable casting could have done with better material.

Creditors runs at the Orange Tree Theatre until 11 October