Writer: Mark Ravenhill
Director: Erica Whyman
On paper, the idea of Mark Ravenhill writing a play about Benjamin Britten composing an opera seems an 
unlikely combination. But in reality, it works perfectly, delivering an uplifting and beautiful piece of work that has so much to say about the creative process and the toll it takes on the human spirit.
Ben and Imo charts the creation of the opera Gloriana as Benjamin Britten is forced to compose to a tight deadline and works with Imogen Holst (daughter of Gustav Holst, and a talented musician/composer in her own right) to complete the work ready for a Royal Gala performance.
It is not a play packed with incident. Rather it is a study of a complex relationship between two unconventional and non-conforming individuals as they come to terms with each other as well as the professional and personal challenges they face.
Britten is in a long-term relationship with Peter Pears in an era where their love is illegal leaving Ben insecure and anxious. He is also feeling the pressure to take on the mantle of a public figure and to conform to what others want from him rather than being true to the music he wants to create.
Holst is still to find her place in the world. She wants the freedom to be her own person but also constantly craves validation and a clearly defined role. She wants to be seen as more than just the daughter of a famous man but is also happy to be the assistant to a famous composer.
All of this human complexity and more is brought vividly to life through the subtle, engaging and moving performances from Samuel Barnett and Victoria Yeates. Barnett is mercurial as he moves through the rapidly shifting emotions of Britten’s personality. He captures a man who can be waspish one moment, a little boy lost the next. Angry then joyful, loving and ultimately cruel and dismissive. It is a brilliant characterisation.
Yeates is equally dazzling as Imo. She has the energy of a puppy finding excitement in life, she has a passion for her art. She struggles to assert herself and her needs. She is accomplished, and determined but also lost. It is a genuinely memorable performance.
Full credit must go to director Erica Whyman for bringing these performances to life. A two-hander about writing an opera could have been a solid, worthy and static affair. But this is a production full of energy, insight and nuanced drama. It has a quiet power and rightly brings the audience to their feet at the end.
Jackie Shemesh enhances the text and performances with a carefully considered and deceptively simple lighting design. The use of shadows is particularly effective and serves to bring out the textures of Soutra Gilmour’s set and costumes.
Conor Mitchell as composer could easily have fallen back on arranging themes from Britten to provide an appropriate soundtrack but his choice to take a more fragmentary approach that comes together only as the composition of the opera is completed is inspired.
Ravenhill has written a beautiful, fragile play that fully commands the stage. Barnett and Yeates give award-worthy performances. Whyman and her creative team deliver a top-notch production.
This is a triumph for the RSC.
Runs until 6 April 2024
