Director Dominic Hill gave us a good view of the backstage workings
of the Playhouse in his 2013 Crime and Punishment, and he begins this new
staging of Sheridan’s 18th century comedy with a similarly bare stage, soon to
be filled with the various elements of Tom Rogers' evocative set.
Everything about this production, including the chairs, is like
a series of picture frames; an art gallery being constantly hung and re-hung
with vividly lit tableaux. The performers in lavish costumes are directed in a
way that turns every scene into a stunning visual image. Amidst the period garb
and enormous wigs, Hill throws in some witty anachronisms with the props to
remind us that the misogyny of the story is not as dated as it might at first
appear.
But the show is not solely a treat for the eyes. As Mrs
Malaprop might say, the text and its delivery are the very pineapple of
perfection. The entire cast have enormous fun with their lines, tripping out
the sharp wit of this comedy of manners at a rattling pace.
Desmond Barritt as Sir Anthony Absolute tries to persuade
his son Jack (Rhys Rusbatch) that he must marry a wealthy young lady chosen for
him in order to lay hands on her fortune, whether he cares for her or not. “If
you have an estate you must take it with the livestock as it stands” he is
told. What neither know is that the chosen woman is the girl Jack is secretly
wooing, Lydia Languish, disguising himself as a poor serviceman, Ensign
Beverley. When this becomes clear he goes on to regain his father’s favour by
pretending that he will consent to marry purely to appease him.
The plot is filled with all the deceptions and intrigues of
the genre, and the writing is generous with opportunities for all Sheridan’s
characters to revel in its telling.
The entire ensemble produce splendid performances, but
highlights must be Julie Legrand’s wilting Mrs Malaprop, with all her vocal
confusions, and Desmond Barritt’s pompous Sir Anthony. The real show-stealer is
Lucy Briggs-Owen, whose Lydia Languish lilts and swoons about the stage, arms
flapping and hands fluttering, like something out of Ab-Fab or Made in Chelsea,
with the vocal characterisation to match.
Atmosphere is completed with splendidly done lighting from Howard Hudson and subtle music played on a harpsichord placed to the rear of the stage.
Atmosphere is completed with splendidly done lighting from Howard Hudson and subtle music played on a harpsichord placed to the rear of the stage.
Despite its vintage text and period setting, The Rivals
feels bang up to date in Hill’s light handed, fleet of foot presentation, which
is full of laughter but still packs a punchy message.
The Rivals runs at the Playhouse until Saturday 29th
October.
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| Lucy Briggs-Owen in The Rivals - Photo (C) Mark Douet |
This review was originally written for Good News Liverpool
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