The viewer is left with an uplifting feeling and sense of togetherness
Tom’s Stoppard’s dramedy THE REAL THING is set on a constantly evolving stage transforming into different locations in the UK during the early 1980s. Sky-high walls disappear, doors emerge out of nowhere, and scenes fluidly fold into the next with the help of nimble cast and crewmembers. First off, a man sits building a house of cards in a perfectly done up living room, while awaiting his wife’s return. The card house collapses with her sudden entrance, as does their marriage when he confronts her with the passport she left behind – on her trip out of the country. The whole scene feels rather put on, and the fake English accents don’t help.