THE WOMAN
HATER
Orange
Tree Theatre, Richmond
Opened 21 December, 2007
***
Fanny (Frances) Burney (1752-1840) has long been admired for her
novels, journals and letters, but of her seven plays only one turgid
verse tragedy was ever, briefly, staged during her lifetime. Her
comedies A Busy Day and The Woman Hater may never have even
been shown to another person, and only came to light with the
examination of her papers in the mid-20th century. Thus it is that the
Orange Tree now presents the world première of a 205-year-old
play.
On the basis of this work Burney may stand not equal with, but
certainly in the company of, the likes of Goldsmith and Sheridan; the
latter was ready to produce Burney's earlier satire The Witlings until her domineering
father argued for its suppression. She enjoys deft caricatures of
assorted character types, and constructs increasingly improbable
situations culminating in an episode in which everyone encounters and
is ultimately reconciled with everyone else by chance in a wood.
The misogynist of the title is Sir Roderick, jilted many years ago by a
woman who is now the book-loving dilettante Lady Smatter. Repudiating
the society of females, he cut off even his own sister when she had the
temerity to marry, although the marriage foundered shortly after the
birth of a daughter. Roderick now plans to settle his estate upon
distant relative young Jack on the condition that he similarly abjure
the sex; Jack, however, has eyes for a young lady recently arrived in
the village with her mother...
Without going into too much detail, we see wooings real and imagined
for love, gain, whim, security, flattery and/or spite; Jack and his
scatterbrained father more than once encounter each other paying court
to the virtuous Sophia, while Sir Roderick is later visited to his
consternation by a succession of girls claiming to be his long-lost
niece. The dramatic engineering works a treat, although for much of the
first half it seems as if the title character and his concerns are
going to be lost amid the various romantic complications.
Much of the characterisation is similarly successful... sometimes, I
suspect, more so than Burney herself intended. For instance, the
airheaded caperings of the fake Sophia (who does not at first know that
she's a fake) are so much more compelling to an audience than the pious
nobility of the real one, even before Jennifer Higham further animates
the former with a twirling, bouncing vivacity; Amy Noble is left to be
beautiful but uninteresting. As their parents (or pretended parents),
Michael Elwyn and Joan Moon each exhibit the intense, sentimental
virtue that makes so much of the period's literature so dull; they are
bad enough alone (at one point Elwyn's Mr Wilmot exhorts his passion,
"Nay, throb not so violently!"), but when the pair meet up again, the
only dynamism exhibited is by one's credulity and patience ricocheting
off the walls at high velocity. Astute cutting of these plonkings, and
of perhaps 50–60% of Lady Smatter's uncertainly attributed quotations
(never a joke in danger of passing unnoticed), would form a significant
portion of the half-hour that could usefully be shaved from the current
three-hours-plus running time.
Nevertheless, Sam Walters' production bobs along, with characters
costumed in keeping with the modernity of their world-views: Jack
(Dudley Hinton), Levi's 501s; his father (David Gooderson), cardy and
slippers; Sir Roderick (Clive Francis), smoking cap and monocle. And
ultimately Burney casually subverts the whole genre: at the denouement,
it is the older characters who in Walters' staging at least are given
all the stage time, with the youngsters pairing off perfunctorily with
a wordless kiss each.
Written for the Financial
Times.
Copyright © Ian Shuttleworth; all rights
reserved.
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