There is something odd about seventeenth century language coming out of twentieth century mouths in a way that doesn’t quite jar in a costume drama of the writer’s own period. If the message of the play as a revival is that ‘plus ça change’ then what need a relevancy check at all? If the characters transpose to the fifties and by implication to today they will be recognizable for what they are in their original milieu. That said, Sean Foley and Phil Porter have done a heroic job in taming this sprawling ‘five acter’, by a playwright showing off at the height of his powers, into a manageable two acts. The fifties setting in which the nouveau riche and establishment sought pleasure in the louche surroundings of the morally turbid dens of London’s clubland certainly had its headline grabbing aspect in the society scandals of the day. Perhaps that reason alone justifies the choice of staging which happily finds a natural backdrop for cupidity, venality and hypocrisy in the Flamingo club of mid-century Soho.
In Foley’s production the whole play is unblushingly mined for laughs with characterization going little deeper than the epithetical names, some of which have been changed for a modern ear. The humour is as broad as a Carry On film and just about as subtle: where the one may have ‘Bigus Dickus’ the other has ‘Mr Littledick’ (né Shortrod Harebrain). Energy and invention abound. Joe Bannister’s swaggeringly arrogant, Dick Follywit, whilst trying to rob his rich grandfather, the ageing voluptuary, Sir Bounteous Peersucker (né Progress) – given a fruity outing by Ian Redford – finds himself at one point giving a blowjob to a porcelain statue of David in the (unsuccessful) attempt to open his grandfather’s safe.
Women’s main currency in this world is sex and chastity, equally prized by the men for clearly opposing hypocritical reasons. Yet this apparently limited position gives them, in Middleton’s world, a power and influence the men are unable to fully control due to their own natures. Thus the female characters seem stronger than the males who are all too easily gulled. Sarah Ridgeway’s, Truly Kidman (née Courtesan) and Ellie Beavan’s, Mrs Littledick, are both in their own way determined women and given portrayals not soppy or downtrodden or caricatures.
Linda John-Pierre’s singing, whilst bringing a nice smoky atmosphere where required and Alice Power’s clever and adaptable set, complete with saucy street names, all add to the feel of a very slick and entertaining production of this little performed classic. ★★★★☆ Graham Wyles 7/04/15
Photo credit Manuel Harlan
