The first play from writer James Phillips which debuted in
2006, The Rubenstein Kiss explores
the story of Julius and Ethel Rosenberg who, in 1953, were executed for
allegedly sharing atomic secrets with the Soviet Union. It’s a story that
became emblematic of Cold War America and McCarthyism. With a few name changes (Rosenberg
to Rubenstein) Phillips creates a narrative of political and generational
divides inspired by this story, directed by Joe Harmston in this revival at the Southwark Playhouse.
On top of that, though, The
Rubenstein Kiss is a love letter to Arthur Miller. Phillips’ script is
littered with not so subtle references: most blatantly to Marilyn Monroe and
Clark Gable’s film The Misfits that Miller
wrote, and to his play The Crucible. These
aren’t even nods, but whole monologues devoted to drawing parallels. In
addition, there’s the running thread of a sung aria from Puccini’s Madame Butterfly, that crowbars in
themes of sacrifice and purity further explained through monologue. It lends
the play a clunky feel, as if following in the footsteps of others rather than
creating an identity of its own.
The thematic parallels are warranted, however. The story of
the Rubensteins is one of sacrifice and martyrdom, choosing to profess their
innocence in spite of evidence held against them, knowing the consequence would
be death. Equally, we witness evidence against them from their own family. The
politics are a little murky, but there are plenty of shades of grey here that
are ripe for drama, Phillips ultimately allowing the audience to side with or
against the couple through a lens of governmental paranoia.
His play is structured with alternating timelines: the
Rubenstein’s in the 50s and two young people in the 70s who, predictably, have
a personal link to the case. Instead of explaining the facts (and therefore
relying a little too heavily on prior knowledge), Philips focuses on a more
intimate portrait of a family pushed to breaking point. The second act does
eventually tie together the threads, but it’s a long and laboured slog to get
there.
The performances are accomplished. In particular, Ruby
Bentall brings inner-strength to Esther Rubenstein, proving the character to be
the more courageous of the central couple. Elsewhere Sean Rigby brings some
much needed humour as David Girshfeld, and Dario Coates and Katie Eldred have
great chemistry in the 70s storyline.
Sean Cavanagh’s design is sparse and simple, the stage
book-ended by flat pillars of New York scaffolding and the traverse staging
literally putting the audience on opposing sides. Harmston’s intention to draw
a parallel with our current political climate is intriguing if not altogether clear.
2/5
Watch: The Rubenstein
Kiss runs at the Southwark Playhouse until 13th April.
Photos: Scott Rylander