Nadia Fall succeeds brilliantly in the
complex and delicate job of making Harold Brighouse’s 1915
north-of-England comedy both socially and emotionally plausible a
century later.
The first thing director Fall does is update the setting from 1880 to
the 1960s: the main musical motifs are Gerry and the Pacemakers’ “How
Do You Do It” and Frank Sinatra’s “That’s Life”. This means that we can
no longer think of Henry Horatio Hobson as an ignorant yet endearing
period piece, his domestic tyrannies a quaint product of his time. Mark
Benton does indeed make Hobson somewhat sympathetic in the first phase;
he seems to be largely ineffectual, all bluster and more or less
ignored by his three daughters in their family life if not in the
Salford boot-making business he runs. When he takes his belt to hapless
apprentice Willie Mossop (Karl Davies), however, Hobson’s brutality
becomes palpable and undeniable, all because his eldest daughter Maggie
has dared to set her cap at Willie, no matter that the lad himself had
neither desire nor say in the matter. Then in the final act, as Hobson
faces a solitary death due to alcoholism, he regains some sympathy not
through any softening on his own part but rather through the hardness
of his two younger daughters who, having themselves married, refuse to
tend to him, leaving Maggie and Willie to return to the fold but on
their own terms.
If this makes Hobson look like a Lancastrian King Lear, Maggie also
takes on a Shakespearean air. She is akin to both Petruchio and Kate at
the end of the best productions of
The
Taming Of The Shrew: her sharp tongue and determination have
remade Willie into her own vision of him, but it is a vision of
independence and equality, of mutual love and also mutual respect.
Herein lies the principal stroke of genius: that Fall and actor Jodie
McNee have unobtrusively turned this from the story of Hobson, with
Willie as a perfunctory counterweight, into a tale where the viewpoint
character is Maggie. To pull all this off without short-changing the
comedy is a work of mastery. Fall’s stock as a director has been rising
through productions such as
The
Doctor’s Dilemma and
Home
at the National Theatre; now the final, clinching proof of her skills
comes in the deceptively bucolic setting of Regent’s Park.
Written for the Financial
Times.