Review: Visit From an Unknown Woman, Hampstead Theatre

In the 1920s, Austrian author Stefan Zweig was one of the best-selling writers in the world, with his short story Letter From an Unknown Woman being his most famous work. Twice Oscar-winner Christopher Hampton has adapted this tale for the stage, bringing Zweig’s story to life in a new theatrical interpretation.

Stefan (James Corrigan) brings home a young lady, Marianne (Natalie Simpson), whose name remains a mystery until much later. They met during an evening out, and she has left behind both her coat and the man she was with to accompany Stefan home. It doesn’t take long for them to reach the bedroom. The next morning, she departs without revealing her name or leaving contact details. A year later, a frantic knock on the door heralds her return. Her 10-year-old son has just died, and she has a story to tell Stefan. Marianne has known Stefan from a distance for most of her life. What began as a crush in her early teens evolved into a preoccupation, leading her to attend cultural events she hoped would capture Stefan’s interest and where she might share the same space. This is a tale of stalking and obsession, yet written over one hundred years ago.

Rosanna Vize’s set design presents a spacious but sparse Vienna apartment at the centre of the stage, with a pile of decaying white roses to the side. As Marianne recounts her story, detailing the numerous occasions their paths have crossed, Jessie Gattward portrays a younger Marianne. Her almost ethereal presence dances around the stage, interacting solely with the white roses. Bethany Gupwell’s lighting is simple but particularly effective as a light descends beside the stage, simulating the sunrise and signalling a fresh new day.

While the unravelling mystery of the unknown woman is intriguing, as we try to connect the dots leading the characters to this point, some aspects of the story feel implausible. Stefan has encountered Marianne many times over the years. The play suggests repeatedly that he simply never noticed her, yet it feels a little contrived and more like a plot device than a believable part of the story. The chronology occasionally jumps around, causing moments of confusion as the audience tries to follow the characters’ ages and the time gaps between events. The staging sometimes exacerbates this muddling effect, with a jump back in time during a monologue followed by subsequent events that feel out of sequence.

Corrigan does well and deserves particular praise for stepping into the role following cast indisposition; in a very short amount of time he’s clearly found his flooring and is comfortable in the role. Simpson’s character unfolds her tale through extensive monologues, effectively conveying the obsession and unsettling aspects of the story and really holding the heart of the story fully. There is a deliberateness in their every move, with director Chelsea Walker instilling a sense of dance throughout the performance. The careful choreography by movement director Michela Meazza vividly illustrates Stefan and Marianne’s lives, which orbit each other even when they are unaware, and shows how their moments of intersection have lasting ramifications.

Although this Visit feels a bit underwhelming, perhaps not reaching its full potential, it remains a good evening spent with a talented cast and creative team delving into the mysteries of ghosts both past and present.

Written by Christopher Hampton
Based on the short story By Stefan Zweig
Directed By Chelsea Walker
Lighting Designer: Bethany Gupwell
Designer: Rosanna Vize

Visit From An Unknown Woman plays at Hampstead Theatre until 27 July. Further information and tickets can be found here.