The Bite Magazine - Autumn/Winter 2019 - Issue 26

bite theatre which possibly puts into words the notions and pre-formed sentiments that are flowing through the collective cognition of the audience. And there is another surprising revelation as her work pass is being demanded back by the office junior. The world now knows and there are repercussions. “There were death threats, Rebecca told me that,” Wolff tells Sami. And there’s more. Ruth goes on the TV show Take the Debate to give her side of the story where she is battered by the panel and a dubious and doctored voice recording of the incident. However, more revelations are made that throw any formed sentiments out of the window once more. Still, she maintains her actions as the doctor of the patient but is informed of the case going to an inquiry. What a roller-coaster of tensions, emotions and ethical sentiments! They grill her on her personal life but to no avail. Her home life is an aspect she keeps completely pri- vate. At home Sami explodes at her for something said within the debate and deserts Ruth which triggers an emotion in the for- midable, straightlaced Ruth Wolff. Added to this is the deep and understanding chat she has with the priest who visits her at home which results in overall sentiments of certain charac- ters being turned on their heads in us the audience. Yet again! Eventually, first-scene revelations take us by surprise. Then the very last scene directly mirrors this very first scene. But whose body does Ruth need a medical coroner for this time? Three months after watching this play, the sentiments still play in my mind as its relevance in today’s society is prom- inent. Juliet’s performance was spot-on. Her character couldn’t see me in the audience but I was still scared of her! She commanded you to sit up straight, speak well and never, ever interrupted her. Yet, despite all this, you felt sorry for Ruth, at her plight, at her loneliness, at her weird friendship with the teen neighbour, at the results, that were obviously because she wasn’t as perfect and elite as she had everyone believe. This world premiere of The Doctor , which is freely adapted from Arthur Schnitzler’s 1912 play, Professor Bernhardi fol- lows Icke’s other acclaimed work at the Almeida including, most recently, adapting and directing The Wild Duck in 2018 as well as Hamlet, Mary Stuart, Oresteia, Uncle Vanya, Mr Burns and 1984 (co-created with Duncan Macmillan). A minute’s walk away from Islington’s trendy Upper Street and a ten-minute walk from Angel tube station, the Almei- da makes an argument for theatre as an essential force in an increasingly fragmented society. Since 2013, the Almeida has been led by Artistic Director Rupert Goold. It was named the London Theatre of the Year at The Stage Awards in both 2015 and 2018. The Almeida Theatre’s current season include: The Duchess of Malfi: 30th November 2019 - 25th January 2020 Albion: 3rd February - 28th February 2020 Daddy - A Melodrama: 30th March - 9th May 2020 18th May - 27th June 2020 To book tickets and check out the theatre’s future seasons, visit the Almeida website. https://almeida.co.uk/whats-on? Juliet Stevenson in The Doctor The Doctors Meeting