The reviews for Knightley have been positive.
Keira Knightley has always been given a much tougher time by the press in her home town of London, than abroad. Charles Spencer, writing in the Telegraph, recalled the last time Knightley appeared on the London-stage, in Molière’s The Misanthrope in 2009: “She got through it with her dignity intact, but often seemed strained and nervous, as well as alarmingly thin.” The British press have at times accused her of encouraging anorexia and being unworthy for stardom. But things may be slowly beginning to turn, because Knightley is treading the boards once more alongside Mad Men’s Elizabeth Moss, in The Children’s Hour. And, for once, the British critics loved her.
- BBC News arts reporter Neil Smith blogged that Knightley’s was “an accomplished, committed and ultimately moving performance that will win her both kudos and respect.” Smith also praised Tobias Menzies, one of only two male cast members in this 1934 play by Lillian Hellman which tells of teachers accused of having an illicit lesbian affair. Menzies plays a doctor caught between his loyalty to Knightley’s character and a creeping suspicion that she has something to hide. But, above all, Smith’s adoration was reserved for Bryony Hannah who played the malevolent school girl and who “steals the show”.
- Telegraph reviewer Charles Spencer, who was so critical of Knightley in The Misanthrope, revised his opinion altogether: “Keira Knightley has impressively won her theatrical spurs,” he exclaimed, awarding the play four stars. Her performance “displays confidence throughout, before rising in the final act to dramatic heights that are shattering in their intensity and deeply affecting.” The strained relationship between Knightley’s character Karen and her friend and colleague Martha (played by Moss) is “beautifully caught,” continued Spencer, “with … Moss giving a fascinatingly conflicted performance that is as subtle as it is strong.”
- Michael Billington, film critic at the Guardian, agreed that both Moss and Knightley “cut the mustard”: “they prove as potent a combination on stage as at the box office.” Moss’s is “an outstanding performance,” and she lends Martha “a dark secretiveness” which goes some way to prepare us for the violent turnaround of the play’s climax. However, while Billington was all for the staging, director (Ian Rickson) and actors in this play, he did not like the script because “nothing will persuade me that Lillian Hellman’s 1934 play is any more than well-intentioned melodrama.”
- It seems that the Daily Mail, perennial critic of Knightley, is the last man standing of the “she-can’t-act” brigade. Columnist Quentin Letts compared her to “one of those plucky amateur jockeys in the Grand National,” adding that Knightley’s role demands raw self-evisceration, which is “what a great actress would bring to it. Miss Knightley tries. By God, she tries. She turns in a performance of which many a journeywoman thesp’ would be proud. But is she a real leading lady? Is she a genuine stage star? Not quite.” Letts also judged that Moss delivered “with slightly more imagination but I could have done with more vocal variety from her.”
- But grumpy Letts aside, we turn to the industry bible The Stage, for the final word. The first thing that reviewer Mark Shenton noticed about the play was how expensive the seats were compared to others in London – the price pushed up by the starry names on the billing. But he added that The Children’s Hour is “directed with an unsparing, unflinching wash of feeling, beautifully designed by Mark Thompson and with lighting, music and sound … that all make their own seamless atmospheric interventions, this is commercial theatre not just at its most pricey but also best.”













