Review: INTERVIEW, Starring Robert Sean Leonard, Riverside Studios

Originally a 2003 film by Dutch filmmaker Theo Van Gogh, Interview was remade into an English-speaking version starring Sienna Miller and Steve Buscemi in 2007 after Van Gogh's death. Now directed and adapted for the stage by Teunkie Van Der Sluijs, Paten Hughes and Robert Sean Leonard star in this tense two-hander which never quite reaches its potential.

Pierre Peters is a seasoned old hack. A once eminent political journalist and intrepid war reporter, he is now seemingly past his prime. He is less than happy to be sent to interview Katya (no surname necessary), who he dismisses as a typically vacuous influencer-now-film star. He reluctantly arrives at her Brooklyn apartment expecting an inconsequential evening, but Katya has her own agenda and the night turns into an encounter that neither of them expect.

On the face of it, this two-hander has huge potential. A cat and mouse game of wits which questions gender, power, celebrity and who really owns the narrative. Katya has 15.8 million Instagram followers and a desire to be taken more seriously, to be "seen" and Pierre has no interest in social media and wants to focus on more serious topics, but is intrigued by Katya, despite his dismissal of her contribution to society. 

The issue is the writing begins quite strongly with prickly exchanges between two people with seemingly little in common, but descends into hackneyed cliché and try-hard dialogue. "I don't make the rules, I just know how to play the game." says Katya. This conversation quickly becomes less smart verbal ping-pong and more tired and overworked. 

Van Der Sluijs has updated the original material to bring in the inevitable social media aspect, plus a Vice Presidential impeachment case and a Ukrainian villain. It's a bit messy and despite the end twist, it says nothing new about how we quickly judge people we see online and, indeed, in real life.

Another element of the production that does not work are the sudden passionate embraces between the pair; this seems a tired trope to retain, as though there is nothing else a man and woman can end up doing when they are alone together.

It's a shame, as the performances are strong. As Pierre, Robert Sean Leonard exudes tiredness with the world and disinterest in his subject. He moves around the stage as though weary to his bones, only animated by breaking political news. His own past traumas are well hidden, but Leonard is adept at showing them prickling the surface.

As Katya, Paten Hughes shows intelligence and sharp reason beneath a surface of wanting to give her followers access to their "inner power". She refuses to be defined by another middle-aged, white man. Hughes flips between seeming vulnerability and sincerity to chaotic silliness as she flits around the stage in constant motion. The pair spark off each other well; it is the script that lets them down.

Derek McLane's considered scenic design gives us painted exposed brick walls of Katya's open plan apartment, one wall artfully lined with books and industrial furniture and fittings. A Diptyque Figuier Verte candle sits on the coffee table, Aesop handwash by the sink and Kayta peruses a Chloe goody bag with indifference.

Ata Güner's pulsating sound design accompanies often frenetic projection design by idontloveyouanymore (Anna West and Davi Callanan) which shows the recordings the pair make and the barrage of Kayta's social media. It's slickly done, but unsubtle and the actor's recordings of each other often actually distract from the actors themselves.

Interview is a potentially electric production, which begins with great possibility but ends without enough novelty or impact.

Read our interview with Robert Sean Leonard about the show here.

Interview is at Riverside Studios until 27 September

Buy Tickets to Interview (A New Play)