A revival of Jerome Kilty’s 1957 play, “Dear Liar,” currently running at the Jermyn Street Theatre in London, explores the complex relationship between playwright George Bernard Shaw and actress Mrs. Patrick Campbell, famed as the original Eliza Doolittle in Pygmalion. The production hinges on the pair’s extensive and often combative correspondence, a dynamic brought to life by actors Rachel Pickup and Alan Turkington.
Kilty, himself an actor and playwright, drew inspiration for the two-hander from his own encounter with Shaw during World War II while stationed in London with the US Army. He recalled Shaw receiving him and his companions “cordially.” The play centers on the period surrounding the 1912 premiere of Pygmalion, with scenes depicting the fraught process of bringing the work to the stage. Excerpts of their letters reveal a sparring match of wit and will, as evidenced by Campbell’s line, “I will be your pretty slut,” delivered during contract negotiations and Shaw’s retort, “I will sit here, and howl.”
The production doesn’t shy away from the difficulties inherent in the collaboration. Rehearsals were reportedly strained by Campbell’s struggles with a convincing Cockney accent and Shaw’s often-impatient direction. Despite these challenges, Pygmalion proved a resounding success. The play then shifts to examine how each artist attempted to interpret and capitalize on their connection, both in their professional work and personal narratives.
Critics have noted the production’s success relies heavily on the performances of Pickup and Turkington. Pickup, portraying Campbell, is described as becoming “touchingly still in old age,” while Turkington embodies Shaw’s petulance and vulnerability. The actors are costumed to reflect their characters – Turkington sporting a T-shirt with a cartoon depiction of Shaw. The staging, designed by Tom Paris, utilizes cloud-stippled curtains to create a sense of intimacy and distance.
The play also touches upon more somber moments in the pair’s lives, including Shaw’s attendance at his mother’s cremation and Campbell’s grief following the loss of a son in the war. Shaw’s pacifist beliefs are shown to offer little solace during this time. Some contemporary interpretations of Campbell frame her as a more psychologically complex performer than a merely “stroppy diva,” a nuance not fully explored in Kilty’s script or, according to reviews, in Stella Powell-Jones’ production.
The production has garnered positive reviews, with Niagara Now calling it a “masterful” work “not to be missed.” Sesaya Arts Magazine described the play as a “compelling dance of ego and imagination.” The Guardian noted the play’s dependence on the actors’ ability to convey the “antique sparring” between the two figures. Full casting for the Jermyn Street Theatre production was announced earlier this month by Theatre Weekly.
