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From the outside, Temple looks neither exciting nor fast- paced, following the dean of St Paul's Cathedral during the occupy movement in quite a traditional set design from Tim Hatley. However, there is a bite and an energy to Steve Waters' play that makes this make sense at the Donmar. Russell Beale's dean is abrasive and sarcastic at times yet is ultimately sympathetic and caring in a performance that is so watchable. The play deals with the role of the church in the modern age whether it is by it's presence on Twitter, like the Canon Chancellor, or by using the media, like the Bishop of London. The dean is critical of both of these attempts yet his resistance to change, represented by Occupy, eventually chokes him. Waters' message is about the need for the establishment to move with the times and stay relevant, whether that be the church or the government. As I am not aquainted with the Anglican clergy hierarchy, some of the relationships between the characters confusing. Davies' direction keeps the play from seeming protentious and maintains a pulse. Performances are good across the board. Simon is, of course, magnificent, whilst the anger of Paul Higgins almost helped me get over the English southern accent which is quite strange after being so used to the astonishing voice he has in his normal Scottish accent. Sinclair's Bishop is wonderfully devisive, in a similar fashion to Ralph Fiennes' interpretation of the same character in Rev. The choristers are cheeky and bring some light relief whilst Shereen Martin and Anna Calder- Marshall are also full of character in their roles as the lawyer and virger. However, for me, Rebecca Humphries gives the best turn as the dean's PA. Her part is the best written and the audience's view on her changes throughout the drama due to her heart rendering performance. This is a production that proves that the church can be discussed in a way that isn't a sermon whilst also appreciating their role in modern day society.
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