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Feeble, sophomoric and paper-thin: Matt Smith is nothing if not exciting, but he's wasted on this one-星／主役にする adaptation of An Enemy Of The People, 令状s PATRICK MARMION

By Patrick Marmion for the Daily Mail

Published: 15:24 BST, 21 February 2024 | Updated: 16:06 BST, 21 February 2024

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An Enemy Of The People (Duke of York’s Theatre, London)

判決: More likely to make us 需要・要求する our money 支援する than it is to send us 急ぐing to the バリケードs.

率ing:

The last time I saw?Matt Smith live on 行う／開催する／段階, he chased 負かす／撃墜する a 最高の-sized moth that had dared to 侵略する his space 中央の業績／成果 at the 王室の法廷，裁判所 Theatre in Chelsea.

The former Doctor Who, who also played Prince Philip in the 栄冠を与える, is therefore nothing if not an exciting and 予測できない showman.

I’m sorry to 報告（する）／憶測, however, that this does not so much 適用する to his 熱望して心配するd return to live theatre. He is wasted on a piece of sophomoric, paper-thin agit-支え（る） that’s more likely to make us 需要・要求する our money 支援する than it is to send us 急ぐing to the バリケードs.

The actor with the famously vulpine features is taking the lead 役割 of Doctor Stockmann in a feeble modern day updating of Henrik Ibsen’s 広大な／多数の／重要な 19th-century 起訴，告発 of institutional 汚職 in a Norwegian spa town where the water has been 汚染するd.

Matt Smith is wasted on a piece of sophomoric, paper-thin agit-支え（る） that’s more likely to make us 需要・要求する our money 支援する than it is to send us 急ぐing to the バリケードs.

The actor is taking the lead 役割 of Doctor Stockmann in a feeble modern day updating of Henrik Ibsen’s 広大な／多数の／重要な 19th-century 起訴，告発 of institutional 汚職

Directed by German avant-gardist Thomas Ostermeier, it is 始める，決めるの中で a group of the town’s middle class, ‘wokey cokey 自由主義のs’ who have identified civilisation as ‘clinically dead’.

Such snarling 宣伝 is better ふさわしい to a student union than the West End, and with most remaining tickets 定価つきの at ￡100-￡200, the real 搾取する is on Smith’s legions of faithful young fans.

The first thing that 迎える／歓迎するs them in the theatre is a 妨げる／法廷，弁護士業 selling Veuve Clicquot シャンペン酒. Yet that hasn’t stopped the 壊れやすい pretence that the show is a 握りこぶし shaken at fat cats and vested 利益／興味s.

After the interval - when the blackboard 始める，決める, painted with 風刺漫画 hieroglyphics, has been spattered in white paint during an ersatz 陳列する，発揮する of 反抗 - the 生産／産物 turns into a political 抗議する会合. Smith steps up with a class-war diatribe, in which he 布告するs ‘society deserves its 絶滅’.

As becomes 明らかな from the Question Time style 関与 of the audience (yes, there is voluntary audience 参加), feelings of powerlessness and despair at the 未来 are real 関心s for many young people.

But all they get here is flimsy moral 窮地s, as Smith’s doctor comes into 衝突 with his brother the 市長 (Paul Hilton), defender of the fictional town’s 経済的な利益／興味s.

Said town is, moreover, in the 支配する of a serious 疫病／流行性の of nepotism. Not only has the brother 安全な・保証するd Doctor Stockmann’s 職業, Smith’s wife (Jessica Brown Findlay) is the daughter of a gruff Yorkshire industrialist (Nigel Lindsay) who makes a handful of 外見s with an inexplicable Alsatian dog.

And no いっそう少なく cliquishly, Smith and his Mrs are part of a David Bowie and Oasis cover-禁止（する）d who rehearse in his home with the editor and 主要な writer of the 地元の paper.

He is wasted on a piece of sophomoric, paper-thin agit-支え（る） that’s more likely to make us 需要・要求する our money 支援する than it is to send us 急ぐing to the バリケードs

(L to R) cast members Zachary Hart, Paul Hilton, Matt Smith, Jessica Brown Findlay, Nigel Lindsay, Priyanga Burford and Shubham Saraf

Nor is there any 実験（する） of Smith’s 事実上の／代理. Placidly sitting through a public character 暗殺 by his brother when things go bad, he loafs about the 行う／開催する／段階 in designer ジーンズs and sweat shirt, muttering about his unimpeachable 正直さ and getting spattered with paint balls when the town turns against him.

本人自身で, I didn’t turn against him, because I couldn’t get behind him in the first place.

There are audible sniggers from Whovians when one character tells him he’s a brilliant doctor, and although that may have been true when he was up against the Daleks, here he’s just roadkill for the play’s evil 資本主義者 cronies.