Robert Daws Archives - thespyinthestalls.com

★★★★

“a blend of flippancy and gravity of which Daws is a master.”

‘Anything in life can be made better or more bearable with a joke’. It is a phrase that informed the life of P. G. Wodehouse and, indeed, the one-man show, “Wodehouse in Wonderland” starring Robert Daws as the writer and humourist. Following a successful tour in 2023, Daws is gearing up for the Edinburgh fringe with a shortened version of William Humble’s gently captivating monologue. Condensed into one act, the show is full of witticisms, epigrams and one-liners, all told with the perfect balance of charm and self-deprecation by Daws who manages to embody Wodehouse’s mix of affection and satire. It is a very English affair, until just over mid-way through, Daws opens up emotionally while touching on the tragedies Wodehouse experienced.

Humble frames the anecdotes within the structure of a letter dictated to Wodehouse’s adopted daughter, Leonora. Director Robin Herford ensures a natural flow, aware of the dynamics and conversational realism. Daws, therefore, has us in the palm of his hand so we feel that we are his sole focus of attention, sipping cocktails with him in his Long Island study. He breaks away from his letter to his daughter to address an unseen biographer whose questions he has reluctantly agreed to answer. Through these dual devices we learn a lot about the life of Wodehouse and his working methods. His early successes, particularly as a lyricist and songwriting partner to Jerome Kern. It is fitting that this also allows him to burst into song occasionally, displaying his comfortably period vocals, reminiscent of the cabaret artists of the 1920s.

Little known facts about Wodehouse are teased out alongside the obvious, and Daws makes the words speak for themselves. Wodehouse, a naturally reticent character, liked to disappear into his imagination and the characters (most notably Jeeves and Wooster) that sprung from his fertile mind are brought vividly to life by Daws. Jeeves, in particular, is almost as real as his wife Ethel, who we occasionally hear from offstage. We dip into darker territory as we learn of his experiences in the second world war, and the backlash he suffered from his ill-informed “Berlin Broadcasts” about his experiences as a prisoner of war – the one time his anecdotal humour backfired for him, indirectly leading to his self-imposed exile to America.

We return to the more light-hearted matters with ease and with a blend of flippancy and gravity of which Daws is a master. A fine actor, he eschews impersonation, opting to let Wodehouse’s philosophy and outlook on life inform his portrayal of the character. ‘I’ve never found it hard to be happy’ Wodehouse would say. ‘After all, what’s the alternative?’. This phrase makes the darker, tragic aspects of his life all the more poignant. Yes, anything in life can be made better or more bearable with a joke.

Joking aside, though, this production is a heartfelt tribute that brings to life not just Wodehouse but the many characters – fictional and real – that shaped his destiny. Told with utmost charm, warmth and nuance, it is the perfect cocktail hour. And it goes down just as well as one of Bertie Wooster’s signature brandy and sodas.

The Cherry Orchard

Theatre Royal Windsor

Reviewed – 14th October 2021

★★★★

“The sheer magic of this production is the beguiling mix of melancholy and madness; of manners and mannerisms”

The original intention of Chekhov was for “The Cherry Orchard” to be a comedy; yet when it was first staged in 1904 at the Moscow Art Theatre, the writer/director Constantin Stanislavski turned it into a tragedy. If not distressed, Chekhov was very irritated by the misrepresentation of his work. Enough to put him in a mild state of depression. Ever since, there has been much discussion on the multi-layered nature of the play’s message.

Sean Mathias’ production at Theatre Royal, Windsor knows which side of the fence it lies and undoubtedly remains true to Chekhov’s intentions. With the help of a stellar cast the humour of the piece shines through and is maintained throughout the overly long two and a half hours running time. This is no mean feat, given that the characters themselves are generally not the comic type. Yet the wonderful ensemble cast bring out the flaws and the foolishness; the childishness in a seemingly mature group of people. It’s a kind of coming-of-age story for those who have already long come of age.

Fresh from the demands of his trail-blazing and age-defying Hamlet, Sir Ian McKellen is taking a step back, trying to blend into the background as the elderly servant Firs. There is a danger of his cameo becoming the lead but his generosity and sheer attention to the detail of how his character fits into the narrative lead to what is both a show-stealing performance, yet allowing his fellow actors to plunder as much as they can. Robert Daws is an absolute delight as the cash strapped moocher, overflowing with optimism and drunken charm and bouncing off Martin Shaw’s more successful but less confident Lopakhin. Shaw skilfully managed to mix a self-conscious awareness of Lopakhin’s peasant background with a cocksure sense of his own right to cut the privileged down to size (and ultimately cut down their beloved cherry orchard).

Francesca Annis, as Ranyevskaya the owner of the estate, swoops onto the stage majestically. No stranger to personal tragedy, she still seems clothed in waves of happiness. Yet Annis has the skill to show us the many tears and gashes that are covered up. The childlike way she greets her furniture as affectionately as her family is simultaneously ridiculous and tender. Her mix of tragedy and comedy is most (there’s only one way to put it) Chekhovian. But the minor characters also manage to have a major effect. Missy Malek and Kezrena James as the two sisters; and Alis Wyn Davies as the maid, Dunyasha, are names to look out for. Alison Halstead gives a fireball of a performance as the circus performer, trickster come governess, Charlotte. The only one who doesn’t quite seem to grasp the sense of fun that can be had with these characters is Jenny Seagrove, who plays the brother Gaev with a touch too much seriousness and lack of colour.

This is a piece that focuses on the characters and their interactions more than the story. After all, not an awful lot happens. In Act One, the cherry orchard is in danger of being sold, in Act Two it is on the verge of being sold, in Act Three it is sold, and in Act Four it has been sold. The sheer magic of this production is the beguiling mix of melancholy and madness; of manners and mannerisms and rambling lives that are just about keeping afloat. Much to relate to. There is tragedy everywhere, but we don’t always want to focus on that. This show, led by the inimitable McKellen et al, encompasses Chekhov’s spirit and lets us laugh at the seriousness of it all. Even if only for a couple of hours, but it is worth every minute.

WODEHOUSE IN WONDERLAND

Theatre at the Tabard

★★★★

“a blend of flippancy and gravity of which Daws is a master.”

WODEHOUSE IN WONDERLAND

Theatre at the Tabard

Reviewed on 21st July 2025

by Jonathan Evans

Photography by Pamela Raith

Previously reviewed at this venue:

WODEHOUSE IN WONDERLAND

WODEHOUSE IN WONDERLAND

WODEHOUSE IN WONDERLAND

Theatre Royal Windsor

Reviewed – 14th October 2021

★★★★

“The sheer magic of this production is the beguiling mix of melancholy and madness; of manners and mannerisms”

Reviewed by Jonathan Evans

Photography by Jack Merriman

The Cherry Orchard

Theatre Royal Windsor until 13th November

Other four star reviews this year:

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