The stage is littered with
maneki-neko, those golden,
Oriental, waving cat figurines; as we enter, the title character’s
employees are boxing these things for dispatch. Polly Findlay’s
production of this play based on a true story from 1551 is set
distinctly in the modern day. The shriekingly un-Elizabethan gold cats
are a nod to the value clashes that run through the play, between older
moralities and more expedient, sometimes more specious perspectives.
Their packaging carries an image of a smiling Alice Arden, who is
neglected by her husband yet proves the real, villainous focus of the
piece (earning its inclusion in this RSC “Roaring Girls” strand) as she
and her lover scheme to kill Arden. There’s a lot of philosophical
hinterland here, but rather than obtruding it remains modestly hinter.
The foreground belongs to that subgenre known as domestic tragedy: this
tragedy is Alice’s, as she chooses to transgress that clear and obvious
line of murder. Yet the tragic tone only grows unambiguous in the
closing minutes. The first hour and a half or so contains much black
comedy, as the supposedly secret plot to kill Arden embraces almost
every character onstage and (by my count) five failed attempts before
the climactic gory disposal. We see Jay Simpson and Tony Jayawardena as
a pair of cut-throats talking big but repeatedly getting caught up in
slapstick with a machine gun or an enormous crowbar, or simply lost in
thick stage fog.
Why are these two miscreants named Will and Shakebag? Did Shakespeare
himself write the anonymous piece? Some say so; there is a plausible
case for his having penned at least a central scene of argument between
Alice and her lover Mosby, where Sharon Small demonstrates why this is
properly Alice’s play. Director Findlay walks a canny line between
ancient and modern in staging and ideas; she expands the minimal role
of Mosby’s sister Susan (Elspeth Brodie) to include a wealth of
wordless drudgery which is by turns comical and exquisitely agonising.
She takes matters at a decent lick, too (the performance lasts barely
half as long as either of the
Henry
IV plays currently running next door in the Royal Shakespeare
Theatre), so that it is always events that carry us on. We can stop to
reflect afterwards, unlike Alice for whom afterwards is crucially too
late.
Written for the Financial
Times.