“I am not the man I thought myself”
There’s a knack to finding the kind of long-neglected plays that respond well to a revival, as opposed to the ones that are deservedly collecting dust, and Ashley Cook’s Troupe seem to have nailed it. Making a name for themselves with the likes of Rodney Ackland’s After October and James Shirley’s The Cardinal, Troupe has now turned to JM Barrie – best known of course for sharing the same birthday as me, oh, and Peter Pan – to shine a light on the little-performed 1917 play Dear Brutus.
It is undoubtedly a curious thing. It is set in a country house where the Puckish figure of its owner – Robin Hooper’s Lob – has invited a group of strangers for the weekend, with the intention of luring them into the enchanted wood that appears every midsummer to explore the lives that they might have led. A piece of magic-infused escapism that shifts tonally between whimsical frivolity and real psychological acuity, tear-jerking drama and comic romps and as such, can feel hard to pin down. Continue reading “Review: Dear Brutus, Southwark Playhouse”
“Pardon me madam. I was always willing to be amused. The folly of most people is rather an object of mirth than uneasiness.”
Restoration comedies fit the Theatre Royal Bath with the snugness of centuries-old comfort but even with Lindsay Posner updating She Stoops To Conquer to the 1920s, it’s hard not to feel that there’s something inherently dusty about this austere venue. Audiences in London have been spoiled for choice with witty reinventions of the genre – Jessica Swale’s brilliant revisionist work on shows like The Rivals and The Busy Body have enlivened the Southwark Playhouse and the National has had raucous takes on The Beaux’ Stratagem (still running) and this very Oliver Goldsmith play effervescently directed by Jamie Lloyd.
But Posner ‘s direction has a near-fatal lugubriousness in the first half which, already weighed down with a considerable amount of scene-setting and expositionary dialogue, makes for very hard going. Sad to say, things are just dull for too long and nowhere near light-heartedly entertaining enough to do justice to this cracking comedy. The tropes of mismatched love affairs, disguised paramours, mistaken identities and wonderfully ambitious women are all present and correct – London gents Marlow and Hastings mistaking the Hardcastles’ country pile for a country inn and have to go a country mile around the houses to undo the damage they inflict and ensure love wins the day. Continue reading “Review: She Stoops To Conquer, Theatre Royal Bath”