The Rivals by Richard Brinsley Sheridan – Theatre Royal Haymarket ****

[written for The Public Reviews]

Following quite closely on the heels of another comedy of manners, London Assurance at the National Theatre earlier in the year, comes Sheridan's The Rivals. Rivalling Fiona Shaw in the lead role of that former play is Penelope Keith and she, like Shaw, will prove a crowd-pleaser. Perhaps there is something about a romantic farce which we find appealing – it isn't a realistic reflection of the world, nor is it biting political satire, but rather a gentle poking of fun at human nature. The Rivals offers something we can all relate to, and laugh heartily at, without having to consider too deeply the social and moral ills afflicting the characters.

The Rivals transports us to eighteenth century Bath where Captain Jack Absolute woos Lydia Languish in the guise of a lowly ensign, Beverley. Taking her example from trashy romantic novels, Lydia has come to perceive romance only in a match which ill pleases her guardian, Aunt Malaprop. There must be impediments to her love for her to take any interest in it; hers must be a 'sentimental elopement' resulting in the 'prettiest distress imaginable'. From sending up the romanticism rife in the literature of the period, the target of the play's satire quickly switches to the purely mercantile view of marriage with Sir Anthony Absolute in the vanguard for marrying his son off for money, despite having wedded for love himself. Indeed he counsels the reluctant Jack on accepting whoever happens to come attached to a fortune: 'if you have an estate you must take the livestock with it as it stands'. Luckily for Jack, the very woman Absolute is proposing he shackle himself to is Lydia; happily he can fulfil his filial duty whilst bagging the woman of his dreams.

With its various subplots, romantic pairings and confused identities, The Rivals is classic farce and, as such, is a great platform for some excellent comic turns from the cast. Although Penelope Keith was an amusing Malaprop, delivering her characteristic linguistic singularities with the deliberate unconsciousness necessary for them to really work and be funny every time ('he's as headstrong as an allegory on the banks of the Nile' raised a particularly loud laugh), Peter Bowles’ Sir Anthony Absolute stole the show. His repeated threats that he would work himself into a 'frenzy' (threatening indeed from a man who is restrained and seemingly emotionally constipated, but also quick to anger) were accompanied by deadpan wit and brilliantly timed nods to the audience. Keiron Self's Bob Acres was also supremely funny as a country bumpkin and loveable buffoon. Tony Gardner was an excellent Faulkner; his body language and facial expressions enough to fill a stage left empty when he succeeds in finally chased the ever-suffering Julia away.

The only disappointment was Robyn Addison's Lydia, played opposite Tam Williams' Jack (looking very much like a young Tom Cruise). This was her professional stage debut and, although she looked the part, some of her delivery lacked animation and character. Surrounded by such extraordinary talent Addison was bound to look the novice. And everything here is beautifully done; the costumes are lavish and the set, designed by Simon Higlett, is as crisp and bright as an aquatint. In the hands of Peter Hall, what appears to be a convoluted plot on paper is in performance a neat comic entertainment touching on all the familiar themes but in the most expert and opulent way imaginable.

Picture Source

H.M.S. Pinafore – The King's Head Theatre, London *****

[written for The Public Reviews]

Having never seen a Gilbert and Sullivan opera, I wasn't sure what to expect of H.M.S Pinafore and wondered whether it would be twee and old fashioned, dating as it does from the end of the 19th century. I was pleasantly surprised by a performance which was a hilarious riot; an incredibly entertaining way to spend two hours. Of course the plot isn't meant to be serious; it lampoons the English class system, pokes fun at the royal navy and every character is flamboyantly unrealistic. This isn't high art but it is a an enduring piece of farce which has stood the test of time and is still gloriously funny.

Captain of the H.M.S. Pinafore, Corcoran has a beautiful daughter, Josephine, who he hopes to marry off to Sir Joseph Porter, a ludicrous old man. She, however, is in love with Ralph Rackstraw, a lowly sailor. Much hilarity ensues as Josephine wonders whether to follow her heart or the social code which would have her marry her equal, or her better if it can be managed. A last minute plot twist results in a revelation which turns hierarchy on its head and allows true love to prevail while curiously reinforcing the very class system it purports to repudiate.

In the intimate setting of The King's Head Theatre, what could have been just another run of a well-worn classic was in fact a rather special 'boutique' performance. It felt exclusive because the space was small, but also because the quality of the performance was so high. The cast were magnificent singers with excellent comic timing, without exception. I felt that nothing would be gained from seeing a production in a big theatre apart from more sumptuous costumes and set design; the music, provided by The Eaton-Young Piano Duo, and the singing were top drawer and the atmosphere created by our proximity to the performers could not have been equalled in a larger production.

It was encouraging to see an audience demographic that actually went some way towards representing the community – there were people of all ages, from pensioners mouthing the words, to young children who had to be restrained by their parents from storming the stage during some of the more energetic numbers. H.M.S. Pinafore could be seen as a non-festive pantomime for grown-ups but in fact it is suitable for children even though this isn't billed as family entertainment.

John Savournin, the director of this production and the artistic director of Charles Court Opera (the company of performers which has a strong commitment to collaborating with young performers), is a brilliantly pompous Captain Corcoran. All of the young performers are talented actors and singers but special mention should go to Sebastian Valentine for his deliciously dastardly Dick Deadeye, Rosie Strobel for her spirited Little Buttercup, Susan Moore for her ingeniously idiosyncratic Cousin Hebe and Ian Belsey for his witty and theatrical Sir Joseph Porter. But it is the entire cast, who performed with such energy and gusto, which makes this production un-missable; I will definitely be recommending it to everyone – a real treat.

Picture source

Being Sellers by Carl Caulfield – Waterloo East Theatre, London

[written for The Public Reviews]

Waterloo East Theatre, only opened in September this year and promising to offer affordable and accessible entertainment to the local community, is a small and interesting space in a disused railway arch. Privately funded, I hope that this theatre proves to be successful, as it has with its previous two sell-out shows, in order to offer some hope for culture and the arts in the current economic climate. As many small and independent theatres face closure, Waterloo Theatre East is courageously looking to the future and bringing innovative and fringe work to London's theatreland. And Being Sellers is a show which could put Waterloo East Theatre on the map. David Boyle delivers a virtuoso performance as the great comic actor Peter Sellers in this energetic one-hander, marking the thirtieth anniversary of his death.

Little more than an hour long, the play charts Sellers' life, starting with his death. The audience enters to Boyle confined to a hospital bed, creating a clamour and delivering sharp one-liners ('no visitors again? Bastards') until he overworks himself performing a speech from Hamlet and keels over. Sellers then finds himself in purgatory where he rehearses his life (and that is the correct word for it, in this play which is obsessed with the actor's craft) attempting to discover where he went wrong and why there are obstacles to him making his peace with the world. During a frenzied performance where we meet Inspector Clueso and Doctor Strangelove, among others, Boyle's Sellers reveals himself to be a schizophrenic clown, a paranoid player who can inhabit many characters but remains isolated from his own being.

Not knowing much about the life and work of Sellers was no impediment, for me, to enjoying this play although the jokes would have been funnier if I had of understood the context more fully. Yet the humour offered more than the occasional in-joke and, like Sellers' comedy, was simple but brilliant with its anarchic slapstick quality. Boyle's best moment was a sketch based on Sellers' radio series 'The Goon Show' where he conjured the world of suggested visual humour perfectly. This is a comic and entertaining play, but a dark side to Sellers' personal life is revealed - probe beneath the showbiz surface and jealousy, ego mania and dysfunctional family relationships are revealed. After an hour of probing his life and self, Sellers calls himself a 'nasty self-centred little shit' and 'a spoiled little brat, not a tortured genius'. There is a deep sadness to Sellers who sees himself as a cipher; when he is playing a character it is 'like a tenant renting me out for a while' and when he isn't acting he is unoccupied. At the end of the play Sellers has had enough and retreats into the audience, he just wants to watch for a while. The surrounding narrative is fanciful and possibly no to everyone's taste but Boyle's performance can't be faulted; he comes very close to being Sellers.

Picture Source