There was a time back in the early 2000s where Harry Potter was totally unavoidable. The cornerstone of British Media, it took over every billboard, bookshelf and brain of the younger generation. Now imagine you’re within touching distance of being the face of this multi-million pound franchise until you’re just… not. Adapted by Barney Norris and based on the bestselling novel by David Foenkinos, Second Best tells the story of the boy who came second to play Harry Potter, in a tragically funny yet Poignant tale of self identity.
Embarking on a short 4 week run at Riverside Studios, Asa Butterfield (best known for his role in Sex Education) leads as Martin with who is coming to terms with another major life event, his impending journey into fatherhood. This has the power to awaken old emotions as he considers the boy he could have been as the man he has become. Flitting between the present and the past, this one act moves well between the two periods in time and helps to increase the emotional investment in both the child and the adult before us. The play could still use some work on pacing, with some sudden changes causing whiplash and other moments lasting a little too long with some clunky writing, which does have the desired effect but not without affording your time to get there.
The final scenes do feel a bit rushed. The emotional turmoil experienced by Martin comes to a head very close to the end of the show before everything is wrapped up in a bow of optimism, within a handful of lines which feels uncharacteristic. We spend so much time learning about Martin's struggles which lead him to the present, that the sudden switch feels a little displaced and leaves the audience feeling slightly distant from our protagonist. It’s still a nice ending. After all, to spend 90 minutes with a singular character, you of course want them to succeed, but it would be nice to see a bit more of this journey too. That being said, the use of humour in the price has an almost Ricky Jervais-esque quality in its ability to snap you out of a moment with a darkly comic one liner. It’s deeply human in that sense, exploring the way in which many find light in the dark when it’s easier to laugh than cry.
Butterfield is ingenious casting, not only having been a child actor himself, but his total commitment to the role. To take on a stage debut in a one man show will surely be intensely intimidating, however, his ability to fill the stage is admirable and his characterisation is strong and consistent. With direction from Michael Longhurst, Butterfield is chameleonic in his emotions, adapting to the characters who have had such an impact in his character's life and providing a very physical performance which fills the vast stage. It’s difficult to take your eyes off him as anger, love, heartache and desperation fills every inch of his body.
The set and lighting design are also very strong aspects of the production. Staged within a white cube with various props strewn about, there are no wings to the stage so what we see at the start is what remains throughout the show to give the audience an opportunity to consider what may come of these items. It's interesting to see how this seemingly random collection of objects has such a vast impact both on the character and audience who, in a few instances, collectively had a visceral reaction. The stark space provides the intensity of an audition room but, paired with the often aggressively bright lighting, also helps to emulate the mental strain developing for the character. It’s a very clever take, almost medical in a sense which ties in well with the plot.
Overall, Second Best is a powerful, provoking and darkly funny exploration of the importance of self identity and also the long term effects of our past. Even if we haven’t been denied the opportunity to be one of the biggest film stars on the planet, I imagine most audience members could name experiences of the past which intimately affect their present and future. With a little more fine tuning, especially towards the end of the play, this could certainly make for an even stronger piece with quite an affluent future. With such wonderful star casting and he who shall not be named behind it to pull in the punters, it’s certain to have a successful run. However, I imagine many audiences will be pleasantly surprised in its less fantastical but very human nature.
★★★★☆ (4*)
Gifted tickets in return for an honest review | Photography by Hugo Glendinning
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