“Oons!”
is probably my favourite archaic expletive. There’s something about
this further contraction of “Zounds!” (from “God’s wounds”) that sounds
irresistibly absurd. And there are plenty of oons in
The School For Scandal. To all
intents and purposes, it is The Oon Show.
Richard Brinsley Sheridan’s genius in this 1777 comedy is in knowing
just when to suspend the polished periodicity of characters’ more
accustomed speech and insert an oon or two; in balancing the smug
decorousness of the scandal-mongers by giving free rein to the
reactions of their victims. When the disguised Sir Oliver Surface (Ian
McNiece, with just a hint of his recent run of Winston Churchill
portrayals) comes face to face with the reality behind each of his
nephews, his “out-loud” politeness contrasts with his blunter asides.
The same thing occurs when Sir Peter Teazle learns of the stratagems in
which his wife is entangled, although James Laurenson undersells the
normally more persistent choleric vein in Sir Peter’s character. And,
in Jamie Lloyd’s buoyant production, when the sententious hypocrite
Joseph Surface’s lies begin to unravel, Edward Bennett runs out of
words altogether and canters balletically across the stage trying to
keep his deceivees hidden from each other.
Lloyd does not unleash a family-size can of rollick here as in his
recent National Theatre production of
She
Stoops To Conquer, nor is his direction as diffidently formal as
in his Old Vic
Duchess Of Malfi.
He finds the Sheridanesque balance, exemplified in the gossiping scenes
of the titular “school” itself. This circle of bitchery may be presided
over by Serena Evans’ Lady Sneerwell, but its star practitioner is
Maggie Steed’s Mrs Candour, who primly decries the spreading of
salacious rumours even as she peddles them herself. As Charles, the
dissolute but honest Surface brother, Nigel Harman conveys some of the
delight in naughtiness which he displayed more villainously as Lord
Farquaad in
Shrek The Musical.
Bath’s Peter Hall-less summer season continues with Terry Johnson’s
revival of his Freud/Dali fantasia
Hysteria
and Adrian Noble directing Tim Pigott-Smith as Prospero; Lloyd, though,
has kicked it off with the verve that was lacking in the theatre’s 2010
production of Sheridan’s
The Rivals.
It seems that what is required may well be due attention to oons.
Written for the Financial
Times.