RSC Ben & Imo review - The myth of the lone genius exposed with warmth on Stratford stage

Gloriana, so the encyclopaedia tells us, is an opera by Benjamin Britten. Hmm.

Ben & Imo depicts the curious relationship between Britten and Imogen Holst, and makes a pretty convincing case that the opera would not exist without her – either not in its finished form, or not at all. In doing so, it raises questions that for some reason remain taboo: to what extent is any individual solely responsible for any work of art, and how much damage is wrought by the myth of the lone genius?

The play has only two characters, and they comprise a typical odd couple. He is depressive, brittle, volatile, dark; she is upbeat, sturdy, steady, bright. The opera was commissioned to celebrate the coronation of Elizabeth II; Holst’s official role was essentially that of an administrator, helping bring Gloriana to fruition. But the play argues she was much more than that. She not only cajoled, encouraged and mothered Britten, but made vital musical and theatrical suggestions. She constantly talked down her abilities, but it transpires she sang beautifully, danced wondrously and was an accomplished musician, composer and arranger. Perhaps her undue sense of inferiority came from being Gustav’s daughter.

Victoria Yeates brings an immensely likeable vitality to the role of Imogen, but even more important is the sense that her evident talents as a singer and dancer are underused; we hear and see glimpses of what might have been. Samuel Barnett deserves great credit for the richness of his characterisation of Britten, who in lesser hands could have seemed merely irksome. Erica Whyman’s strengths as an ‘actor’s director’ are to the fore here; the production generally lacks spectacle, but she has certainly drawn out splendid performances.

The play is by Mark Ravenhill, and can frustrate. There is sometimes an obviousness to proceedings, and the first half feels a little trite. But the second half is altogether more dynamic, the underlying tensions of the relationship resolving explosively. Conor Mitchell’s compositions add colour, but it is a pity that music is not more integral to the production.

An interesting show, then, lifted by excellent performances. One wonders how many more of these stories are yet to be told.

Until April 6. Tickets: rsc.org.uk/ben-and-imo