Ben Travers’ 1926 country-cottage farce
follows the dynamic of the genre by beginning sedately then constantly
ramping up the exits, entrances and states of undress, so much so that
the final minute of denouement is actually the most frantic of all.
This means, however, that before the interval (placed, here, between
the first and second of the play’s three acts), there is precious
little in the way of farce at all. We have to rely partly on the
scripted comedy of smart people scoring casual points off less smart
ones, and partly on our own perspective upon period/generic kitsch.
There is a fair dose of the latter on offer: when “daily woman” Mrs
Leverett (played by Lynda Baron very much in the mould of Peggy Mount)
began explaining the ins and outs of the Somerset village to holiday
tenant Gerald Popkiss, I was reminded of the maid in Tom Stoppard’s
The Real Inspector Hound who
answers the phone with the words, “Hello, the drawing room of Lady
Muldoon’s country residence one morning in early spring?” But Terry
Johnson’s production cannot quite decide whether it is going to gently
lampoon this aspect from a 21st-century standpoint or whether to
indulge it and let it generate its own laughs. This results in
awkwardnesses of tone such as Edward Baker-Duly’s characterisation of
cousin Clive: he is too thoroughly the cad in co-respondent shoes to
handle plausibly his sudden
coup de
foudre by pyjama-clad Rhoda (Kellie Shirley, one of a brace of
EastEnders in the cast), whose
sudden arrival in the cottage generates the stream of Hilarious
Consequences. Nick Brimble as Putz speaks in what is not just a
comedy-German accent, but one which feels authentically English-1920s
bad.
On the farcical business itself, Johnson and his company are top-notch
(even if they appear to make no use of two of the eight doors in Tim
Shortall’s traditionally entrance-rich set). Mark Hadfield, that fine
comedy actor, excels as dim, put-upon Harold, Neil Stuke gets up a
decent head of steam as the newly-wed,
honourable-but-who-would-believe-it Gerald (all golf clubs down the
trousers and imaginary ukuleles), and Sarah Woodward is as unbending a
termagant as ever tormented a weak-willed husband. It all motors along
amiably, but never really throttles up and lets her rip.
Written for the Financial
Times.