With Chiwetel Ejiofor in the title role, Carol Ann Duffy’s interweaving of medieval myth and modern materialism triumphs at the National Theatre

The Resident:

Rufus Norris’ opening year as Artistic Director at the National begins with a coke-fuelled, neon masked bang – all underscored by a soundtrack packed with pleasingly glitchy electronica from William Lyons and Paul Arditti. Overall, a strong production that left me questioning whether, in a technology obsessed world (where even Death takes selfies) we are losing touch with our social conscience?

Everyman charts man’s final reckoning, in which he must confront his life and values in the face of death. For those familiar with the fifteenth century original, Carol Ann Duffy’s reimagining of the text follows the medieval plot, but shifts its focus to critique the sins of a secular age. Embellished with expletives and the vices of a self-absorbed Tinder generation, the play poses the question “what does it mean to be a human being?”

As a literature undergraduate, the morality play had left me cold – its characters too abstract to invest in. With these preconceived ideas, Norris’ production unknowingly had a task on its hands; to bring the allegorical figure of Everyman to life.

Chiwetel Ejiofor’s performance in the title role demands attention. From his high-rise descent past flickering images of excess in the play’s opening, to the prophesised judgement day, Ejiofor brings Duffy’s script to life with captivating skill. Returning to the National after a 15 year absence, in which he notched up a BAFTA and Oscar nomination for film 12 Years a Slave, Ejiofor is supported in his hedonistic portrayal by an impressive cast and crew.

Dermot Crowley’s dry portrayal of Death, who carries a blue plastic carrier bag throughout, is menacingly brilliant to the last. While Kate Duchene as God is serene yet authoritative. And, as the ladies waiting in line for the toilets post-performance noted, “it was nice to see a female God – about time”.

The play pulls no punches delivering the message that our lifestyle is unsustainable and that mass consumerism is damaging to the planet. Climate change is literally enacted with a huge fan blowing paper rubbish – or replica bank notes – into the audience. This serves as a poignant highlight of the true worth of material possessions in the face of natural disaster.

There is no interval in the production and it did seem to lose pace a little toward the very end. But perhaps this is more due to the audio-visual spectacle that characterises the first half. If you have 1 hour 40 minutes to spare this summer, get yourself down to the National before 30 August – you won’t regret it.

On 16 July 2015 Everyman will be broadcast live to over 550 UK cinemas. www.ntlive.com

Words: Daisy McCorgray

Images: Richard Hubert Smith