Bear Pit Theatre, Stratford upon Avon, Monday 18th June, 2018
Noel Coward’s 1924 play is perhaps best described as a ‘comedy of bad manners’. Set in the country retreat of the Bliss family, it depicts what transpires one weekend when each member of the family decides to invite a guest to stay. In terms of plot, that’s about it – the play lacks the depth and development of Coward’s later works, but the beastly behaviour of the Blisses provides such fun, we don’t seem to care about the script’s narrative shortcomings.
Ruling the roost as former actress Judith Bliss is Lesley Wilcox, serving up the ham in hefty slabs – but all without breaking character. Judith has quit the stage but has never stopped acting; she spends her days in the throes of melodramatic hyperbole. Wilcox is a monstrous joy to behold.
Following in their mother’s footsteps are waspish daughter Sorel (Zoe Mortimer in fine form) and dapper son Simon, played by Josh Whitehouse-Gardner, who is perfectly cast. Of all the company, it is he who gives the best clipped, Cowardian delivery. As the father, David Bliss, Roger Harding warms into the role and is soon hurling himself into histrionics along with the rest of his brood.
The hapless guests include Vivien Tomlinson, good fun as a kind of prototype ‘cougar’ figure, Myra Arundel; Paul Tomlinson as Richard, delivering a nice line in awkwardness; Thomas Hodge flounders around agreeably as nice-but-dim Sandy; while India Willes’s Jackie is a study in social anxiety and shyness.
Judith’s thunder is almost stolen by her maid of all work, Clara, played by Shirley Allwork, in a hilarious piece of character work in perfect contrast with all the posh nobs she has to serve.
Director Colin Lewis Edwards gets the pacing of the rows and arguments spot on, and the funniest scene comes when our hosts attempt to entertain their motley guests with an abortive parlour game.
Special mention must go to Bel Derrington and Graham Robson for their elegantly detailed and substantial set, contained within the confines of the Bear Pit’s intimate performance space.
Coward is a worthy successor to Oscar Wilde and a forerunner of Edward Albee, and this high quality, classy production delivers the goods. What does the play have to say to us today, 90-odd years since it first appeared? Perhaps it’s that the ‘elite’ are still riding roughshod over the rest of us, callous and careless in their conceited conduct. Or perhaps it’s just that impoliteness and rudeness remain terribly funny – as long as someone else is on the receiving end.
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