Many things can be said about James Mcdonald’s production of Arnold Wesker’s Roots : the language – while grounded and naturalistic – twists and turns like a snake, the performances have vigour and precision and beauty and the set showcases both the small details and the grandeur of the Donmar stage. But ultimately, despite all these pleasures, the production’s structural problems linger in the mind.
Some of these problems come with the play: Wesker is not in a hurry to tell his story. In fact, only one significant event occurs and it comes at the end of the play. None of this would matter if the characters’ interactions played out with energy but at almost three hours and with two intervals, the production loses momentum. Continue reading