The Forest London Reviews and Tickets

At just 80 minutes the play is taut, tight and stylish enough to command the attention. But I suspect that deep down, the psychological shenanigans that Zeller inserts into hackneyed thriller tropes really aren’t that profound.
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As usual, ‘The Forest’ is highly watchable and with this cast stands every chance of following ‘The Father’, ‘The Son’ and ‘The Height of the Storm’ into the West End. Lots of people are going to enjoy it. I enjoyed it!...I’m always left with the same question: is that it?
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Translated by Zeller’s long-term collaborator, Christopher Hampton, The Forest is masterfully executed and captivating to watch, but without the same emotional depth and power of The Father.
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It's all clever and quite intriguing, but it's not that deep. The idea that an affair is the ultimate betrayal both of others and self is hardly revelatory, even if the way the notion is worked out here is unusual.
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The first Florian Zeller play to premiere not in his native French but in English, The Forest also marks this writer’s most disturbing and alluring play in years, not least as delivered in a production from an empathic Jonathan Kent that matches the text’s deepening sense of mystery.
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Whereas Zeller’s standout play, 2012’s The Father (a double Oscar-winner in its screen adaptation last year), wrung poignancy from its theatrical tricks at every turn, his shtick here is all trick: what he calls “an experiment with form”. Nothing stays the same from scene to scene.
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Florian Zeller’s compelling but befuddling play is full of shifting identities, repeated and mutating scenes, and an increasingly deranged amount of flowers. It all adds up to a strange and unsteady whole. A somewhat unsatisfying one, too.
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