Last Updated on August 24, 2025
Tom Stoppard’s The Real Thing: Timeless Questions on Love and Authenticity
At the Old Vic this September, prepare to dive into a tangled web of love and deception with Tom Stoppard’s The Real Thing. This 1982 classic returns to the stage, inviting audiences to explore the murky line between genuine emotion and carefully crafted illusion. In this fresh production, the Old Vic brings Stoppard’s wordy examination of the heart’s desires into a new light, challenging us to consider whether love is a matter of passion, intellect, or something in between.
Tom Stoppard always evokes memories of my parents’ era. They were avid theatregoers and devoted fans of Felicity Kendal, who played Annie in the 1982 premiere, while I was beginning to dip my toes into the world of drama. Yet, in this new production, the play effortlessly brings Stoppard’s genius into the present, holding onto its ’70s roots and the joyous music of the period, creating a vibrant bridge between past and present, albeit with a smattering of outmoded chauvinistic attitudes and a notable nod to the analogue versus digital debate.
Refreshingly directed by Max Webster, this production exudes modernity, enhanced by Peter McKintosh’s stage design, which masterfully blends simplicity with sophistication. The trendy 80’s living room set, defined by glowing royal blue panelled walls and a striking rectangular hanging light grid, frames the action with a clever, contemporary touch. At the centre, a white sofa anchors the space, subtly redressed for each new scene location with a scattering of cushions, a coffee table, lamps, and potted plants, ensuring each transition feels seamless. Richard Howell’s innovative lighting and Alexandra Faye Braithwaite’s dynamic sound design further elevate the production, making for super slick and smart transitions.
The narrative centres on Henry and his relationships with the women in his life, particularly his second wife, Annie, an actress. James McArdle delivers a sharp and layered portrayal of Henry, navigating the character’s pompous and smarmy exterior with finesse while gradually peeling back the facade to reveal a vulnerability that deepens the complexity of his performance. Bel Powley on the other hand, brings a delightful charm to Annie, portraying her with a captivating blend of flirtatiousness and nuanced character, as she explores her attitudes toward love and desire and discovers “what works for her.” Together, they create a dynamic and compelling onstage chemistry.
As Henry grapples with what is ‘real’ in love and art, he confronts infidelity, emotional honesty, and the complexities of his relationship with Annie, who is also immersed in the theatre world, first rehearsing his play House of Cards, and later Miss Julie and ‘Tis Pity She’s a Whore. This intricate journey unfolds through a play-within-a-play structure, complemented by a vibrant and seamless blend of pop classics.
The performances are stellar across the board, though Henry’s first wife, Charlotte -amusingly played by Susan Wokoma, feels slightly miscast; her flippant admission of nine affairs strains credibility. Annie’s first husband, Max, is a kindly yet self-absorbed theatre director whose arrogance and manipulation fuel much of the play’s internal conflict. Oliver Johnson’s convincing portrayal of Max gives him a suitably needy demeanour, which repels Annie and drives her to seek new challenges, including her unexpected liaison with Brodie (played by newcomer Jack Ambrose), a raw and passionate Scottish soldier-turned-activist. Brodie’s idealism sharply contrasts with Henry’s cynical, intellectual outlook, and his fervent nature becomes a catalyst for tension, challenging Henry’s detachment and probing the themes of authenticity and integrity in both art and life – often witty, though perhaps a little too clever at times.
Rilwan Abiola Owokoniran is delightful as Billy, Annie’s charming, opportunistic younger lover, whose naive ambition and self-interest add complexity. Whilst Karise Yansen’s feisty Debbie – Henry and Charlotte’s teenage daughter with her own attitudes about sex, gives Henry a new platform to spout his ideas about love and carnal knowledge.
As relationships unfold and unravel, Stoppard’s sharp dialogue and intricate storytelling ask a timeless question: what is “the real thing” in love? Is it a genuine connection or just a crafted performance? The beauty of stories centred around love and relationships is their enduring relevance. This production stays true to its roots while delivering an exhilarating contemporary makeover, proving that some questions about the heart never go out of style.
The Old Vic, to 26 Oct
103 The Cut, London SE1 8NB
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