A gripping ecclesiastical thriller explores the cardinal sins behind the death of a Pope
The Roman Catholic Church has always been a theatrical spectacle of the highest order, and this old-fashioned stage thriller is so lavish – with its cast of 20, elaborate costumery and stunning set – you half expect them to pass around a collection plate during interval.
Luckily this touring production of a play that ran in London’s West End in 2007 stars David Suchet, guaranteeing ticket sales among theatregoers who prefer their theatre to be as comfortingly similar to TV as possible. Nor does the direction by Jonathan Church make any huge demands on audience imagination. It’s strictly one character per actor, while scene changes feature blackouts and sinister music to maintain the mood.
Roger Crane’s play is based on conspiracy theories surrounding the 1978 death of Pope John Paul I, who expired after just 33 days in office. Suchet plays the remorseful Cardinal Benelli, who in the first half of the play recounts his part in bringing about John Paul’s election and in the second half swings into Poirot mode trying to solve the mystery of his demise.
The pontiff (Richard O’Callaghan) is a compromise choice whose meek exterior conceals a determination to shepherd the church into the 20th century and fight corruption in the Vatican Bank, putting him immediately at odds with the Curia, the council of powerful cardinals.
From what we know of the chequered history of the papacy, it’s entirely possible the Curia had John Paul killed. The play hedges its bets, offering a critique of Catholic conservatism that’s pointed but hardly likely to topple any steeples now that the progressive Francis has taken up where John Paul I left off.
Suchet is a commanding presence as the turbulent priest whose ambition to reform the church springs from a crisis of faith. But it’s O’Callaghan who evinces the most sympathy as the reluctant Pope – a mouse who no sooner than donning the white robes starts to roar.
While there’s all too much noodling around with William Dudley’s set during the scene changes, it’s an impressive design emphasising the steelwork within St Peter’s Basilica: the House of God turned into a cage. And Crane, a US lawyer, has a good ear for cynical one-liners illuminating the impious realities of the Holy See. “In the Vatican, everything is confidential and nothing is secret,” notes one cardinal. “Churches are not run by saints,” affirms another. “They’re run by men who understand power.”
Hatch is a HUGE David Suchet (Poirot) fan!!!