School For Scandal

Richard B Sheridan’s original play was first performed at Drury Lane in May 1777. It is certainly a very wordy play and therefore Richard Brown - who directed this version - had taken, in his words ‘some huge liberties with the text’, and considerably trimmed the original as well as introducing several new characters and reworking some of the others to sharpen the script and attune it for a modern audience. I won’t even pretend I got to grips with all the goings on within the very complicated script, but the way Richard Brown and his co-director Jacqui Spencer presented it to us certainly gave us an insight into 18th century high society, with all the scheming, plotting and mischief of the upper crust of society Sheridan was sending up. Modern English farce as seen on our televisions today can also trace its origins back to Sherdan’s original and marks the start of traditional English Farce.

The basic plot involves the return of Sir Oliver Surface to England after a lifetime in the Indies and having to decide which of his two nephews should receive his fortune -  Joseph, a moral upright man or Charles, a wastrel and drunkard. All is watched over by the scheming Lady Sneerwell and the wagging tongues of her female social set. Add to that Sir Peter Teazle,a committed bachelor who has unexpectedly taken a much younger bride in his later life, only to find domestic misery rather than harmony. As with any farce there are many awkward situations to wriggle out of and all is really the opposite of what it appears.

The set, under the Stage Management of Chris Topham, with a crew of Eva Fekete and Roz Brown was entirely to blacks with the furniture very slickly moved on and off by the cast. In fact, it was comedically made an issue within the script when the audience were told to use our imaginations  on being told the scene was set in the library. The period furniture itself was indeed very authentic, especially the magnificent chaise longue.

Max Richardson’s lighting design slickly operated by Annapoorna Sabari was very clever indeed in creating the atmosphere of an 18th century interior and sound by Martin Avery was crystal clear, albeit from our front row seats.

The 18th century costumes sourced by Sarah Stammler, Trish Brook, Susan Dunn, Alex Hudson and Nan Taplin were positively regal, incredibly vibrant and complimented the characters personalities perfectly. Quite a sight to admire. If I had to be hypercritical some of the footwear did look a little incongruous.

A special mention to Jen Spencer in the makeup department, which with the white pasty look put the finishing touch to the 18th century appearance of all the characters. And the lip gloss she added to her own character of Snake was character defining.  Very clever and great understanding in the use of makeup.

The pace of this show was relentless, and this very wordy play positively zipped along.
We opened with a very upbeat musical arrangement by Ian Favell being humorously conducted in front of the tabs by Theresa Kopplin playing Lady Sneerwell’s Maid. Paula Incledon-Webber then certainly took command of the stage as the scheming Lady Sneerwell, out to create mischief, plotting her scandals with her hireling Snake, played by Jen Spencer, in the opening scene.

The two brothers, James Barwise as Charles Surface and Chris Turner as Joseph Surface were great opposing foils to each other. Chris Turner in particular was wonderfully larger than life and his facial expressions, a kind of 18th century camp, were superbly comical. His interactions with Keir Sims as Trip, his put upon servant, were also a comic delight. Louise West as Maria was the object of Charles’ affections and heavily plotted against by Lady Sneerwell.

Dean Laccohee as Sir Oliver Surface, the returning uncle and Josephine Hussey as Sir Peter’s housekeeper Mistress Rowley were probably the only adults in the room but were not without their own comedic moments. Accompanying them was Russell Bailey as the wonderfully named Lightfinger, a character added by Richard Brown to Sheridan’s script and Shellie Collins provided lovely comic interludes as Sir Peter’s servant.

In contrast Miles Greaves as Sir Benjamin Backbite had the most brilliant comedic, memorable high-step walk I have seen in a long time. His two sisters, Backbite One and Two played by Jennie Osborn and Rhiannon Owens certainly lived up to  their name. Helen Daniel was his aunt Ms Crabtree.

Georgie Bickerdike as the young bride Lady Teazle, with a very striking hairstyle, is totally undone in a highly amusing scene where she hides behind a screen and is eventually discovered. Stuart Nunn as her new husband Sir Peter Teazle certainly played miserable with a comedic turn. Further gossip was provided by Bronte Beckett as Miss Verjuice and Caroline Molony as Mrs Candour. Jo Travers as Careless was a great auctioneer of the family portraits, which were actually amusingly portrayed by the live actors, and also the announcer to tell us a break was coming up. Fabulous stuff.

So well done to Richard Brown, his cast and crew for a superbly put together insight into the 18th century. A lot of hard work had gone into this production.  I’m in admiration that there wasn’t a prompt for what was a trip hazard of a script, which didn’t miss a beat. As I said at the beginning there is no way I managed  to follow all its intricacies at one viewing, but it did eventually all come clear in the second half, as I was told it would. 

Finally, many thanks to HDC for their kind hospitality. 

 

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