Little Lark of London

“There’s a right way and a wrong way”

Written by Jack Thorne and directed by Sam Mendes, The Motive and the Cue is a dramatic interpretation of the rehearsal process for Broadway’s iconic 1964 Hamlet, directed by Sir John Gielgud and starring Richard Burton. What made the show so fascinating is that it was created to be presented as if it was taking place as a rehearsal, not an actual performance, making for some unique choices by Gielgud and the performers. In this play, Mark Gatiss takes on the role of Gielgud and Johnny Flynn takes on Burton, with the two actors representing the older and younger generations of actors. 

Each scene of the show begins with a black screen in front of the stage and what day of rehearsals the company is on, along with a Hamlet quote that foreshadows what will be happening in the coming scene. Some highlights include “Your wisdom should show itself more richer” for a conversation in which Gielgud gives advice to a younger actor on Day 8 and “Foul deeds will rise” for a particularly devastating moment on Day 14. The actors also stand in front of the black screen at times, typically rehearsing for the play and saying their lines out to the audience. 

Johnny Flynn and Mark Gatiss are absolutely brilliant as Burton and Gielgud, commanding every scene that they are in with ease and perfectly playing the complicated dynamic between the two characters. Though they are both playing real-life people, their interpretations are not simply impressions – they truly become their characters, exploring their feelings and the motives behind their actions, things not seen on camera in the 1960s. There are several spats between Gielgud and Burton, with one highlight being Gielgud commenting on Burton’s tendency to shout as they argue over how the character of Hamlet should be portrayed. Gieulgud is determined to show Burton how Shakespeare’s words can become music, but Burton is stubborn in his own ways, refusing to take advice from Gielgud, saying “Contradiction is the Sir John way.” It takes time for the two of them to see eye-to-eye, but once they do, Burton’s breakthrough is an absolute masterpiece and it is truly magical to see him putting together the pieces that he and Gielgud have been placing throughout the play. 

Burton’s “What a piece of work is a man” monologue as Hamlet had me leaning forward in my seat, hanging onto every single word coming out of Flynn’s mouth. I must admit, Hamlet is not my favourite Shakespeare play, but I could have listened to Flynn playing Hamlet for hours on end. In a heartwrenching moment when Burton is tearing Gielgud apart, he does an imitation of Gielgud’s Hamlet, an impressive moment in which Flynn playing Burton is playing Hamlet as Gielgud, and he does it absolutely brilliantly. 

But it is not only Flynn who is able to show off his Shakespearean skills along with his interpretation of a historic figure. Gatiss is given several monologues throughout the play to perform Gielgud’s Hamlet, contrasting Burton’s version while still standing out as a stellar performance. Along with directing Hamlet, Gielgud has a side plot that touches upon his homosexuality, with him hiring a male prostitue and simply sitting and talking with him before an emotional moment in which the pair cuddle – it appears funny at first but quickly becomes a heartbreaking moment that makes you feel for Gielgud having to hide his identity. 

Tuppence Middleton is a delightful Elizabeth Taylor, seductive and smart as she interacts with the other characters. She desperately wants to be in the rehearsal room but is kept out of it, which leads to her connecting with one of the actors with a minor role, saying “You’re an outsider like me, aren’t you?” The chemistry between her and Flynn is beautiful in that it reflects the love that Taylor and Burton appeared to have for one another, with heated arguments leading to passionate romantic moments.  The banter between the two actors is fantastic and adds a bit of comedy to the show in between the stress and tension of rehearsals. Before the first performance, Middleton is also given the opportunity to give a Shakespeare monologue, acting as Juliet before she is interrupted by Gielgud. The dynamic between Taylor and Gielgud, though only seen for a few short scenes, is a beautiful example of two people of wit joining together for a shared cause – for them, this is coaxing Burton’s Hamlet out of him and his tortured past.

The ending is simple yet beautiful, giving audiences a brief glimpse into Burton’s performance as Hamlet while still giving Gielgud his moment in the spotlight. The use of projected text to tell the audience what happened after the curtain closed is incredibly powerful, with one statement leading to soft gasps of surprise from many audience members, myself included. 

Set Designer Es Devlin has created a minimalistic yet beautiful world on the stage, giving the audience easily identifiable locations including the rehearsal room, Taylor and Burton’s residence and Gielgud’s office. Without going into spoilers, the final scene has such an effective moment involving the set that I couldn’t help but tear up at the emotions swelling up. Devlin’s sets are complemented by Jon Clark’s lighting and Benjamin Kwasi Burrell’s compositions, with sound designed by Paul Arditti. Katrina Lindsay’s costumes fit the 1960s perfectly and I loved seeing how Burton’s clothing appeared like a part of his armour, protecting him from the world with elegance and occasional flamboyance. 

Ultimately, The Motive and the Cue is one of the best shows I have seen so far in 2024 and quite possibly surpasses most of what I saw in 2023 as well. It is a masterclass in performance against a minimalistic background. The runtime flies by and makes you wish that the play was even longer to get more glimpses into the lives of Gielgud, Burton and the other characters. 

The Motive and the Cue runs until 23 March 2024 at the Noël Coward Theatre. Tickets can be purchased here.

Photo Credit: Mark Douet