It
is unsurprising that St John Hankin and George Bernard Shaw admired
each other’s plays. Hankin’s 1906 drama, his third to be revived at the
Orange Tree, adopts the very Shavian strategy of turning social
conventions and cosy nostrums on their heads two or three times and
exposing well-intentioned middle-class persons to a party who seems
amoral but turns out to have, if not a higher code, then at least a
stronger one.
Lady Denison and her
daughter Margery, under the influence of a new church, have adopted a
novel approach to hospitality, and invite as house-guests not folk whom
they like but rather those whom no-one else does: a vulgar social
climber, an old soldier whose anecdotes are endless and tedious, a
daunting governess and a feckless young gentleman. It is the last of
these who poses the real challenge to the Denisons’ assumptions, though
not before Lady D has begun to re-examine her policies on hearing that
her butler has impregnated her maid. (Curious that no amount of
purgatorial people around her day after day make such an impression as
misbehaviour among the domestics.) In any case, the crux comes with
Margery’s announcement of her engagement to young scapegrace Hugh
Verreker… with a view to reforming him, of course. The third and fourth
acts consist of mother, daughter and son-in-law-to-be questioning and
re-assessing their own and each other’s attitudes.
Very
Shavian, then, in scheme at least. Alas, Hankin cannot match the Irish
dramatist’s mordancy nor the acuity of his arguments. What we hear for
the most part are un-extraordinary positions and remarks even from
those on the supposed extremes, and humour that provokes genteel
chuckles rather than louder and uneasier laughter. Damien Matthews as
Hugh in particular has a hard time navigating through this: he takes a
hyper-Shavian tack unsupported by his lines, with the result that he
often looks or sounds malicious or even Machiavellian when he should
probably be merely languid. Only when the character grows animated does
Matthews properly shine. Olivia Morgan is a wide-eyed angel as Margery,
Shuna Snow a fearsome secretary bird of a governess and Philip York a
rumbling buffer of a general. Auriol Smith’s production is fluent but
timid about tackling the players’ alternate deficits and excesses of
intensity.
Written for the Financial
Times.