(Kate Kellaway’s article appeared in the Observer, 4/2.)
If Don Juan doesn’t know when to stop, I don’t know where to begin in describing Patrick Marber’s play and this fantastic, entertaining and unflagging production, which he directs. It opens with a blast of Mozart’s Don Giovanni – the music reminding us that hell is greedy, ready to swallow rascals alive. The stage in Don Juan in Soho is filled with dancers in misleadingly innocuous white, and right from the start there is a buzz, a sense that we are in safely unsafe hands.
Roll over Mozart – rock is taking over. This is contemporary Soho (classily designed by Anna Fleischle, dominated by Soho Square’s statue of Charles II). By the time we meet David Tennant’s Don Juan (now known as DJ), looking cadaverous, languid and unshaven – a picture of dissolution in his designer suit – we have already learned from his disloyal servant Stan (of whom more in a moment) that his master would “do it with anything… even a hole in the ozone layer”.