★★★★

“It is the sharp wit and intelligence of the language that sustains the piece and cushions it from the risk of being labelled dated”

Oliver Goldsmith’s period comedy, “She Stoops to Conquer”, was first performed in London a quarter of a millennium ago, but is still very much alive among today’s canon of revivals. Initially titled ‘Mistakes of a Night’ it is indeed a comedy of errors. Goldsmith himself dubbed it a ‘laughing comedy’ while others referred to it as a ‘comedy of manners’ or a ‘romantic comedy’. The stress is repeatedly on the word ‘comedy’ – as the laughs from the audience at Tom Littler’s festive revival testify.

It is the sharp wit and intelligence of the language that sustains the piece and cushions it from the risk of being labelled dated. Littler’s production shifts it from the eighteenth century into a 1930s country manor deep in the heart of P. G. Wodehouse land. Tucked away in the English countryside we find Mr and Mrs Hardcastle; the former relishing the quiet, old-fashioned lifestyle while his wife longs to untuck herself and see the new things happening up in the big city. Instead, the city comes to them in the form of two raffish slickers – Charles Marlow and George Hastings. Marlow has been invited as a prospective match for the Hardcastle’s daughter, Kate, while Hastings is in tow to pursue Kate’s cousin Constance, who in turn is being reluctantly matched by Mrs Hardcastle to her prankster son Tony. Courtesy of Tony’s mischievousness, the two gents arrive mistaking the country house for an inn.

The main butt of the satire is class divide, emphasised by the way the characters treat one another depending on the (often mistaken) perception of their social standing. The text calls for a heightened degree of acting, which the formidable cast deliver without ever overdoing it. Greta Scacchi pitches just the right amount of affectation into her flame haired Mrs Hardcastle, as gaudy as the baubles with which she adorns the Christmas tree. Scacchi manages to parody and show off her privilege simultaneously, with a cut glass accent in need of a good polishing. David Horovitch is the perfect foil as her bumbling crank of a husband, delightfully and playfully outraged at the slightest threat to his authority and standing. Tanya Reynolds, as Kate, effectively has a dual role, spending much of the time pretending to be the lowly barmaid she is mistaken for. A comic talent, showcased in a glorious scene where she tries on various accents for her alter ego. Guy Hughes is a real find as Tony, the one who instigates all the misunderstandings. His veil of bumpkin buffoonery shields an intelligent rascal, but one with a good heart.

But the one everybody is looking out for is Freddie Fox. One moment eloquently flirtatious, the next a nervous, tongue-tied wreck. A lithe performance, Fox effortlessly switches between the two sides of Marlow, eking out the hypocrisy of the class system but – more strikingly – drawing out the laughs from an audience that hangs on his every word and nuance. Robert Mountford’s Hastings and Sabrina Bartlett’s Constance add a delightful extra layer of farce as the ‘will-they-won’t-they’ couple. Bartlett, in particular, lighting up the stage with her presence.

The performances and, of course, Goldsmith’s script are what drive this comedy through what would otherwise be a fairly safe revival. Anett Black and Neil Irish’s setting has the comfortable warmth of a well-heeled family Christmas, transforming not entirely successfully into the local pub. And we get the feeling sometimes that the sense of privilege is enjoyed too much rather than lampooned. But these sentiments are quickly knocked aside by the stream of laughs. Sometimes gentle, sometimes farcical. The festive setting might be a touch opportunist, but it is bang on target, and we leave the auditorium uplifted and ready to embrace the joys of Christmas.

LOVE ALL at Jermyn Street Theatre

★★★★

“It’s a bold and brassy play that challenges convention, an idea eagerly and rather lovingly picked up by this slick and charming production”

Hear that a play is a Comedy of Manners and you will probably think of the waspish satires of the Reformation, or Oscar Wilde or Noël Coward classics, ripe with artificial plots and witty social commentary.

It is less likely that your mind will race to a work with a distinctly contemporary twist by one of the greatest crime writers of the Golden Age which features a character who may well be based on the writer herself.

The intriguing “Love All” by Dorothy L. Sayers was not a commercial success when it first opened in 1940 with its theme of choosing career or family and the sacrifices women are expected to make and has barely been seen on stage in 80 years.

It’s not hard to see why Jermyn Street Theatre thought it worth reviving the piece with its strong female characters and its tendency to be dismissive of romance in its current Temptation Season. What begins as a familiar and droll drawing room comedy, blossoms into a fun and feisty (one might even say feminist had Sayers herself not so disliked the term) period comedy that never once seems stale or dated.

It’s a bold and brassy play that challenges convention, an idea eagerly and rather lovingly picked up by this slick and charming production. In it a young actress besotted with a romance novelist runs off to Venice with him as he tries to pen his next bestseller about a repentant husband; but his wife, now a successful London playwright, refuses to divorce him. When the young actress hears of an exciting new playwright storming the stage back home, she knows she just has to be in her next hit – even though unaware of her true identity.

Unlike Sayers’ Lord Peter Wimsey whodunit “Gaudy Night,” in which women are merely tolerated by their male university peers, “Love All” confidently thrusts every one of its female characters into a position of commanding strength and it’s the male characters who come off the worst. The mistress notes that, “Every great man has had a woman behind him,” but the wife responds, “Every great woman has had some man or other in front of her, tripping her up.”

Emily Barber quickly lifts mistress Lydia to a level well beyond the dreamy inamorata unable to cope with her lover’s indecision. If the script itself ever allowed the character to be dreary Barber rapidly brushes it aside in a performance which relishes the fiery role of a good actress unwilling to accept the status quo.

Leah Whitaker, no stranger to the venue, is stupendous in turn as Janet (the nom de plume of Edith), the bored wife unwilling to be stifled by custom or etiquette, least of all by a patronising and colourless man. It’s a character very like Sayers’ fictional detective Harriet Vane, who in turn bore similarities to the author herself, and Whitaker ensures she is likeable and assertive without becoming bossily domineering.

The pair play off each other brilliantly as they grow to understand each other and realise their own happiness is far more important than life with languid chauvinist Godfrey (an assured performance from Alan Cox as the narrow-minded, callous dinosaur who fails to recognise the abilities and humanity of those around him) as they prowl around like lionesses stalking their unfortunate prey.

Karen Ascoe is wonderful in two roles: Judith, the friend in Venice, with the most dazzling array of facial expressions and pauses which speak volumes, and then Stella, the no-nonsense secretary in London.

Bethan Cullinane’s Mary is a careful study of loyalty and devotion, steering through layers of awkwardness and it’s a relief the play avoids what appears to be a predictable ending for a character who has her own strength.

Daniel Burke as actor Michael and Jim Findley as Henry fall into the category here of men who fare badly at the hands of a writer wanting to explore the liberation of women in professional and domestic life, but they do well to ensure their parts are three-dimensional and enjoyable.

The set is an extraordinary work of art by Louie Whitemore, transforming almost miraculously between Acts One and Two in such a small space from a Venetian apartment complete with giant Canaletto on the wall to a London drawing room used by Janet as her office – as a voiceover tells us during the interval, switching from the Grand Canal of Venice to the Grand Junction Canal in London.

For Sayers’ fans there’s even a play poster on the wall for Janet’s hit “Mare’s Nest” with the actors’ names all being characters from her novels or real life relationships. Not that there are many quiet moments to play that Who’s Who? Game but it’s a clever design nod.

“Love All” represents a sad but triumphant farewell to director Tom Littler who, as Artistic Director of Jermyn Street Theatre, has turned this hidden gem in Piccadilly into something sparkling, a powerhouse venue to be taken seriously. For his final (18th) production here he has created something to remember and savour before heading off to the Orange Tree in Richmond in October.

Defying all expectations of clichéd creakiness, Jermyn Street Theatre delivers a sparky revival of this surprisingly overlooked play in a manner as uncompromising as its writer, adding a welcome touch of Piccadilly panache.

SHE STOOPS TO CONQUER at the Orange Tree Theatre

★★★★

“It is the sharp wit and intelligence of the language that sustains the piece and cushions it from the risk of being labelled dated”

SHE STOOPS TO CONQUER at the Orange Tree Theatre

Reviewed on 22nd November 2023

by Jonathan Evans

Photography by Marc Brenner

Previously reviewed at this venue:

She Stoops to Conquer

She Stoops to Conquer

LOVE ALL at Jermyn Street Theatre

★★★★

“It’s a bold and brassy play that challenges convention, an idea eagerly and rather lovingly picked up by this slick and charming production”

Hear that a play is a Comedy of Manners and you will probably think of the waspish satires of the Reformation, or Oscar Wilde or Noël Coward classics, ripe with artificial plots and witty social commentary.

It is less likely that your mind will race to a work with a distinctly contemporary twist by one of the greatest crime writers of the Golden Age which features a character who may well be based on the writer herself.

The intriguing “Love All” by Dorothy L. Sayers was not a commercial success when it first opened in 1940 with its theme of choosing career or family and the sacrifices women are expected to make and has barely been seen on stage in 80 years.

Karen Ascoe is wonderful in two roles: Judith, the friend in Venice, with the most dazzling array of facial expressions and pauses which speak volumes, and then Stella, the no-nonsense secretary in London.

Bethan Cullinane’s Mary is a careful study of loyalty and devotion, steering through layers of awkwardness and it’s a relief the play avoids what appears to be a predictable ending for a character who has her own strength.

Daniel Burke as actor Michael and Jim Findley as Henry fall into the category here of men who fare badly at the hands of a writer wanting to explore the liberation of women in professional and domestic life, but they do well to ensure their parts are three-dimensional and enjoyable.

For Sayers’ fans there’s even a play poster on the wall for Janet’s hit “Mare’s Nest” with the actors’ names all being characters from her novels or real life relationships. Not that there are many quiet moments to play that Who’s Who? Game but it’s a clever design nod.

Defying all expectations of clichéd creakiness, Jermyn Street Theatre delivers a sparky revival of this surprisingly overlooked play in a manner as uncompromising as its writer, adding a welcome touch of Piccadilly panache.

Reviewed on 13th September 2022

by David Guest

Photography by Steve Gregson

Previously reviewed at this venue: