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Full disclosure: I didn’t love Jerusalem the primary time round. Jez Butterworth’s play about myths and Englishness has itself been so mythologised since that unique 2009 run – hailed because the play of the century and celebrated for its Shakespearean qualities – that it looks like heresy to talk of ambivalence in something aside from a whisper.

Butterworth’s language comprises nice riches and Johnny “Rooster” Byron, the play’s outsider, antihero, insurgent and messiah rolled into one, is a blazing creation. However what concerning the peculiarly flat, Little Britain-style humour of the primary act? The peripheral feminine characters and queasy pejoratives of girls? And its paying homage to a bygone England – a “holy land” full of historic energies, druids and Stonehenge giants – that carries the discomforting concept that Englishness was a greater, purer model of itself then?

This manufacturing brings again among the gamers from the unique, together with the director Ian Rickson in addition to Mark Rylance’s Rooster and Mackenzie Criminal’s Ginger (an out-of-work plasterer who reckons himself a DJ), and it revives, for me, among the similar gripes. Its motley crew of “outcasts, leeches, undesirables [and] beggars” who meet round Rooster’s caravan in an illegally occupied spot of Wiltshire woodland to drink and snort coke nonetheless appear to be comedian grotesques in its first act.

Motley crew member … Mackenzie Criminal as Ginger. {Photograph}: Simon Annand

Now, we surprise if they’re Brexiters and populists within the making – the deplorables and left-behinds they is perhaps labelled at this time. “I go away Wiltshire and my ears pop,” says one character who doesn’t see the purpose of different international locations. Possibly if this play had been revived earlier than the EU referendum, the metropolitan lots wouldn’t have been as shocked by the end result.

First staged two years after the demise of Blair’s Britain, its references to Chumbawamba, Intercourse and the Metropolis, Bin Laden and the Spice Women sound dated, giving it a wavering sense of a play positioned within the latest previous, glancing again on the historic previous.

Its language predates #MeToo and Black Lives Matter – and it reveals. There’s a limp joke about dressing up in a burqa, one other about Nigerian visitors wardens. There are references to ladies as “slappers”, “bitches” and fats wives. Byron boasts of his conquests and talks of pinching bums, whereas Ginger states: “I don’t even have GCSE maths however I do have an important massive bushy cock and balls.” Bizarrely, this will get some laughs on opening evening.

Jack Riddiford, Mark Rylance and Ed Kear in Jerusalem.
Psychologically profound … Jack Riddiford, Mark Rylance and Ed Kear in Jerusalem. {Photograph}: Simon Annand

These are temporary references however they really feel repetitive and othering. It doesn’t assist that the few feminine characters are marginal, together with Rooster’s ex-partner, Daybreak (Indra Ové), who’s given some good traces, however isn’t on stage for very lengthy. The place a number of male characters are fleshed out in a while, the ladies keep flat.

However the tone of this manufacturing is just not set within the first, peculiar act, and the play is just not the sum whole of its anachronisms, both. Though the larger ideological points round ladies and Englishness proceed to run via the three acts, this can be a difficult and layered play, rising into its magnificence, as mercurial as its contradictory and complex central character.

From the second act onwards, it expands into an ever extra tense, mysterious and majestic drama, monumental in its sense of tragedy. A lot of that is right down to Rylance’s epic efficiency, as bodily as it’s psychologically profound. If Rooster begins out as a brute, limping round from a historical past of drunken violence, Rylance captures the wreckage of that man immaculately, from his gait to hangover headache and comedown of jittery, darting eyeballs.

The play takes place on St George’s Day, on the woodland spot being illegally occupied by Rooster as he’s about to be evicted, although he continues to protest in opposition to the council and the brand new housing improvement close by. He’s each a heroic anti-establishment insurgent and one in every of society’s losers; an immortal daredevil (he claims to have risen from the lifeless and speaks of the alchemical properties of “Byron” blood) and a deluded bum or “supertramp”, as Daybreak calls him mockingly, and a nasty father besides.

His character grows in energy, greater till he appears virtually as massive as one of many mythological giants he claims to have spoken to close Stonehenge. However extra tragic, too – betrayed, alone, vilified, and but making his stand, damaged however nonetheless defiant.

The play’s concepts round delusion and id are lyrical however don’t totally cohere. Ultz’s astonishing set opens as much as bacchanalian detritus exterior Rooster’s caravan – empty bottles, a mucky couch, a disco ball tied to a tree and even stay chickens. However it’s uncomfortable to see the St George’s Cross emblazoned on the curtain in the beginning after which a flag hung across the again of the caravan. That flag has, since Jerusalem’s first staging in 2009, continued to be related to the far proper, and the play’s greater dewy-eyed concepts round Englishness carry a queasy proximity to the romanticised narrative that has been co-opted by the correct.

However any disagreement across the remedy of its themes can’t take away from its drama and the hovering central efficiency. Is it the best play of our instances? Not for my part. However Rylance’s Rooster is unquestionably the best efficiency of the century.

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