,%20Tom%20Wlaschiha%20(Thomas)%20and%20Artie%20Wilkinson-Hunt%20(Young%20Thomas)%20in%20The%20Land%20of%20the%20Living%20at%20the%20National%20Theatre.%20(c)%20Manuel%20Harlan%20088.jpg)
The Land of the Living tells a fascinating story about displaced children in Germany at the end of World War II. Ruth, a young UN worker, suddenly finds herself trying to manage the lives of youngsters who have been brought to Germany. She must decide whether they should be repatriated to their birth families or remain with the only parents they have ever truly known. She believes she has found an answer to this moral dilemma, but years later, when confronted by one of the children she once dealt with, she is forced to question her past decisions. David Lan has written a compelling work that is both emotionally and morally challenging, but it undeniably needs editing. The production is unnecessarily long, with scenes and characters that should be cut to clarify the narrative and themes. The piece also suffers from the choice to stage it in a traverse configuration, which is distracting and quite literally, becomes a pain in the neck for the audience. That said, the cast is simply outstanding. They powerfully evoke the agony surrounding this traumatic historical moment. Juliet Stevenson delivers a magnificent performance as the conflicted Ruth, radiating empathy and intelligence as she struggles to do the right thing. However, Stevenson is almost upstaged by Artie Wilkinson-Hunt. He is deeply affecting as young Thomas, the child who comes to symbolise the incomprehensible plight faced by so many. Equally convincing is Tom Wlaschiha as the older Thomas, a concert pianist suddenly forced to come to terms with his past. The Land of the Living is a powerful theatrical experience with extraordinary performances. It raises haunting questions about a historical situation that, sadly, has too many contemporary parallels.
Rated: ★★★★
Reviewed by J.C.
Photo by Manuel Harlan
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