4 – 8 June

Verbal wit and dexterity are pivotal to Sheridan’s famous comedy, first performed in 1776. Any modern theatre company bold enough to tackle this sharp-edged attack on fashionable 18^th century society needs impeccable diction and brilliant comic timing. It also needs great subtlety in performance. The audience should both see and feel the pretended delicacy of manner and cult of sensibility against which the vicious backbiting and scandalmongering can flourish.

Tilted Wig brings furious pace and enthusiasm to their updated version. The director is Sean Aydon and he gives us much to entertain. Almost too much. When the characters burst into song, you wish they would do it more often. When the action turns to farce, you enjoy the situational absurdity. But the dark thread of malice, hypocrisy, and covetousness that runs through the text is rarely captured. The actors are confident and often engaging. Everyone moves with impressive athleticism. But loud voices and extravagant gestures are not enough.

The programme notes say that the play was written in a ‘similar (sic) tumultuous era’. Yet there is no discernible attempt to link the central themes with 21^st century issues. The mood is captured in broad brush colour with a simple set designed by Sarah Beaton, ideal for touring, using a series of drapes that change hue in different lights. Considerable thought has been devoted to the costumes. The characters are all beautifully turned out, ‘New Look’ and cocktail dresses for the women, flamboyant country house gear for the men. According to Beaton, ‘we wanted each one to have a distinct look.’

The lynchpin of the show is Joseph Marcell’s Sir Peter Teazle. This experienced actor brings stage presence, assurance and vulnerability to the central role and there are poignant moments as we witness the pain of the elderly rich man who loves his errant young wife. He is well matched in a versatile performance by Lydea Perkins as Lady Teazle. Indeed, the most effective scene of the evening is a domestic two hander that draws us into the tussle between warring spouses who need each other but cannot yet meet in harmony.  

In fairness to those performing the other parts, it has to be conceded that Sheridan’s characters are often more surface than depth. And interpretation of superficiality can easily veer towards pantomime. The two leading young men are the brothers Joseph and Charles. Not for nothing do they share the surname ‘Surface’. Yet in a play about hypocrisy, there is always an inner life to be explored.

The modern mantra for writers and particularly playwrights is ‘Show not tell’. Sheridan would have struggled here. But he does succeed in that other mantra for writers. He knows what his characters want, namely, status, money and vengeance. Humour is never simple. Laughter often turns on cruelty. The School for Scandal has a hard edge and should be more than just a romp.

Overall, Tilted Wig’s production is a valiant effort rather than a total success. It will be interesting to see how the challenge is taken up by the Royal Shakespeare Company in Stratford-upon-Avon next month.

★★★☆☆      Ros Carne   5 June 2024

Photo credit: Robling Photography