Faced with a double bill of plays about
theatre critics, my colleagues and I are almost certain to be seen as
sour grape merchants if we give sniffy reviews, or conversely as merely
affecting to like the production in order to seem good sports. Well, so
be it.
Tom Stoppard’s
The Real Inspector
Hound premièred in 1968, though written several years
earlier. What is surprising is how little it has dated.
The Mousetrap, which is parodied in
the country-house-thriller play within the play, was already quaint
even then. But the critical pronouncements of reviewers Moon and
Birdboot still sound plausible; Richard McCabe and Nicholas Le Prevost
also bear a passing visual resemblance to particular current or recent
critics. As for their character traits, some members of our tribe have
indeed been known to give warm write-ups to ingénue actors or
actresses they might fancy, and some still grow excessively het-up over
swearing and “smut”.
The play is early-clever-Stoppard at or near his cleverest. The
parodies, the verbal and structural patternings, the intricacy yet
deftness with which first Birdboot then Moon is drawn out of his seat
and into the action onstage... all are delightful. Jonathan Church’s
production adds a generous dose of comic business, thanks I suspect to
co-director Sean Foley, who is a master of such hi-jinks and who,
playing the crusty and semi-sinister Major Magnus Muldoon, engages in
some remarkable wheelchair acting, skidding from pose to portentous
four-wheeled pose. That fine parodic actor Joe Dixon quivers his false
moustache enthusiastically as Simon Gascoine, and Una Stubbs as Mrs
Drudge the cleaning lady gets the greatest whoops-exposition line of
all time, on answering the telephone: “Hello, the drawing-room of Lady
Muldoon’s country residence one morning in early spring?”
It is possible to talk about the play’s attitude towards notions of
critical distance and objectivity, and the relationship between
reviewers and reviewed, but really it’s best simply to sit back and
enjoy. Similarly, Sheridan’s
The
Critic (1779) has views of its own about the links between
authors, critics and the press in a period when critics were largely
self-appointed (a situation somewhat revived by the advent of the
blogosphere); however, although the author especially prized the first
act, for us the cream of the piece is the second-act rehearsal staging
of
The Spanish Armada by Mr
Puff, a kind of 18th-century Max Clifford, to which he has invited the
opinionated Messrs Dangle and Sneer. Those parts of the play which have
not already been either mangled or simply excised by the actors are
then derailed by Puff’s constant interference. Consequently, we
flounder (but happily) in incomprehensible plots, incompetent staging
and ludicrous effects which at one point lead to Derek Griffiths as
Sneer being hoisted aloft on a large globe whilst Foley as Britannia
inadvertently moons the audience. McCabe is as florid as Puff as he is
self-effacing as Moon, whilst Le Prevost as Dangle voices the
incredulity of us all at the goings-on.
The only serious caveat I have is that, on nights when the pace may
either drag or be hobbled by its own success, with too many pauses for
laughter, the double bill will fall prey to its own criticism in
Birdboot’s opening line in
Hound:
that it is “first-class family entertainment, but if it goes on beyond
half past ten it’s self-indulgent.” Otherwise, in the same gentleman’s
opinion, “A rattling good evening out. I was held.”
Written for the Financial
Times.