An exploration of some of humanities darkest times
Artistic director of the Young Vic theatre until 2018, playwright David Lan has always had an interest in bringing a voice to the vulnerable and highlighting social issues. His latest play The Land of the Living is no different, setting itself apart in a full library of Holocaust-based literature.
Following the early career of acclaimed journalist Ruth (Juliet Stevenson), the story reveals a further shocking secret of the Nazi regime that the allies weren’t yet aware of, the Lebensborn program. This process involved abducting hundreds of thousands of children from occupied nations that possessed Aryan features. Measured to determine the ‘racial purity’ of the children, if they passed these arbitrary tests, they went through the process of ‘Germanisation’, before being adopted out to German families and raised German.
The play skates over the details, touching lightly on the specifics of this topic and leaving its audience more intrigued than informed. Lan chooses instead to dig into the life of one fictional child and his tragic story of displacement. It’s a mammoth production, with a runtime of nearly 3 hours that definitely leaves room for a prudent edit. The story revisits similar emotional points multiple times and the conclusion lacks depth in comparison, leading to an anticlimactic finish. Despite these minor shortcomings, the play covers a relatively unknown element of World War 2 and sheds light on how the end of a war does not necessarily mark the end of human suffering.
With a large ensemble, this production boasts some powerhouse performances. The obvious is Stevenson, who doesn’t leave the stage for the plays entire duration and moves between countries, time periods and the whole emotional spectrum. Michael Fox is a frustratingly blasé American soldier, Avital Lvova a heartbreaking Olga and Anastasia Martin a vital Theresa. But the standout performer is the actor playing Young Thomas on press night, Artie Wilkinson-Hunt, who gives an incredible and show-stealing performance.
Director Stephen Daldry brings the script to life in fresh and engaging ways, with a traverse stage completely transforming the Dorfman Theatre. The minimal set by Miriam Buether allows for quick scene transitions and a nifty trapdoor gives a multi-dimensional feeling to the world of the play. Actors frequently stalk through the aisles and run onstage through the audience, generating a truly immersive and often uncomfortable feeling.
A unique story on a well-trodden topic, The Land of the Living is a wonderful showcase of talent, both known and emerging. Sadly resonating through the many displaced persons in the wars of today, this play will no doubt remain relevant for many years to come.