John Osborne always wrote these big bravura roles for his actors: Jimmy Porter in Look Back in Anger made Kenneth Haigh; Archie Rice in The Entertainer was a major turning point in Laurence Olivier’s career; Luther was rivetingly performed by Albert Finney; Alan Bates had a big success as the master spy Alfred Redl in the revival of A Patriot for Me.
Bill Maitland, the 39-year-old practising solicitor, who specializes in divorce, is one of the most gruelling roles in modern theatre, for actor and audience alike. Nicol Williamson’s success in the 1964 premiere confirmed him as one of the finest actors of his generation. Maitland, self-absorbed in his own affairs, drinking too much, and taking too many pills, is irremediably mediocre. Urgently in need of support, he becomes more and more isolated, unable to function either as solicitor, husband, lover or father. Deserted by clients, employees, wife, daughter and mistress, all of whom he treats abominably, his disintegration is total.
Maitland’s invective, which sounds like a replay of Jimmy Porter, has all of Osborne’s familiar rage, contempt and sarcasm. His chaotic and squalid office (cleverly designed by Soutra Gilmour) compliments his mental state, in which nightmare and reality are indivisible. All his clients look exactly the same and their problems are an itinerary of his marital problems. Nobody seeing Jamie Lloyd’s revival and listening to the self-lacerating diatribes will be surprised to learn that Osborne had a nervous breakdown two years after the premiere.
Inadmissible Evidence, essentially a monologue, long and exhausting, was always far too long. Cut now by nearly an hour it still feels interminable. Douglas Hodge is never off stage and hardly ever stops talking; the performance is absolutely stunning and his energy is amazing.