IN HIS introduction to the European premiere of Orson’s Shadow, writer Austin Pendleton explains that that his play “is an attempt at retraction” for derisory comments he made about Orson Welles after they had worked together as actors in the 1970 film Catch 22.

Thus his play is a fantasy reconstruction of the events leading to a fractious 1960 production of Eugene Ionesco’s Rhinoceros, directed by Welles and starring Laurence Olivier, at the Royal Court theatre in London.

Unfortunately, Pendleton’s theatrical mea culpa skews 0events to a point where it becomes almost unfeasible.

As horns lock between the two egos at the beginning of an unfocused second act, Olivier comes across as little more than a bumbling, bloated ego as he repeatedly stumbles over the most basic of lines during a rehearsal.

While the scene had some audience members in stitches, it felt decidedly exaggerated, if not farcical. It’s difficult to imagine an actor of Olivier’s standing posturing to the pathetic extent evident in Adrian Lukis’s overly gesticulating portrayal of him here.

But despite such imperfections, the play still has imaginative power and refined direction from Alice Hamilton allows room for the intricate and fluctuating relationships it depicts to flourish.

The first act, in which renowned critic Kenneth Tynan (a compelling performance by Edward Bennett) attempts to convince both men to commit to the production, is a gripping game of conflicting emotions.

The rest of the cast are excellent, particularly Gina Bellman as Olivier’s volatile divorcee Vivien Leigh and Louise Ford as his wife-to-be Joan Plowright, who makes the most of her unreasonably limited role.

Pendleton’s portraits may not entirely convince but there’s something unquestionably engaging about his play. Fifteen years after it was first performed in the US it is a wonder why it has taken so long to arrive in Britain 

Runs until July 25, box office: southwarkplayhouse.co.uk

Review by Mayer Wakefield