It is remarkable that such a flimsy, improbable concoction set on board the transatlantic liner, Italian Castle, should enjoy an apparently charmed life at the hands of, firstly; Ferenc Molnár, the originator, then P.G.Wodehouse and now (as of 1984) Tom Stoppard.

To recap; established playwrights, Turai (John Partridge) and Gal (Matthew Cottle) are preparing to surprise the stars of their latest, unfinished, romantic comedy, with a new song by young composer Adam (Rob Ostlere), an ex actor who, on the return of his mother from prison, contracted a strange disease which affected his…..timing, so bringing to an end his acting career. Furthermore this same composer is a lovesick puppy totally smitten by the play’s star, the glamorous Natasha Navratilova (Issy Van Randwyck) who despite being some ten years his senior reciprocates the feeling. However, one evening Adam overhears Natasha and her co-star, Ivor (Simon Dutton) who also happens to be an ex lover, having what appears to be a compromising conversation on an upper deck and becomes suicidal. Turai, Ivor, Natasha and Dvornichek (Charlie Stemp) the resourceful steward (of Greek comedy lineage) set out to cozen Adam into believing that the two were actually rehearsing the play with some new dialogue written by Ivor.

The play is at its best when Stoppard gets his teeth into the frothy pastiche of a 1920s romantic comedy, which is being rehearsed for Adam’s benefit –  during a storm – and director, Rachel Kavanaugh, applies the whisk with a deft wrist.

John Partridge has apparently set out determined to make the most of the material he has been given by delivering each line with a measured emphasis accompanied by a bespoke pose plucked from a fluid reservoir of the same. It brought to mind a dancer scattering seeds as if they were jewels. Matthew Cottle applies a welcome dose of Dr Watson to balance the flamboyance whilst Issy Van Randwyck gives a performance of bottled twenties elegance and panache.

Charlie Stemp wisely resists the opportunity to turn his character into a complete lush in light of his constant brandy quaffing and seemingly tidies up the plot without much observable effort. Simon Dutton as the middle-aged male equivalent of a ‘dumb blonde’ is never less than entertaining as is Rob Ostlere as the love puddle.

Colin Richmond’s designs are stylish and give a nautical feel to proceedings.

This is playful Stoppard without the head scratching.   ★★★☆☆    Graham Wyles   26^th February 2019