Cicely Bumtrinket. It seemed as well to
open the review with a joke (the name of a very minor and
unsurprisingly flatulent character), since there seem to be precious
few others in Thomas Dekker’s 1599 “city comedy” and even fewer in
Philip Breen’s RSC revival of it. Granted, at that time “comedy” simply
meant a play with a happy ending, and granted too there is a deal of
surreptitious mickey-taking of Shakespeare’s
Henry V, which may well have been
playing at the Globe when Dekker’s play first opened literally a
stone’s throw away at the Rose. Even so, the chuckles are all but
rationed.
It is one thing to respond to Shakespeare’s whitewashed account of the
battle of Agincourt by bringing journeyman shoemaker Ralph back home
from France lame, as Dekker did; another to add a disfiguring facial
injury, as Breen does… although this intensifies his wife’s choice to
reunite with him rather than accept the blandishments and bribes of a
well-off suitor. It is one thing to downplay the ebullience of master
shoemaker Simon Eyre; actor David Troughton is equally accomplished in
straight and comic roles. But when his bellowing at his wife begins to
feel plain abusive rather than inventive, and we have seen little real
evidence of “mad Simon” to justify the King’s benign disposition
towards him in the last act, a principal strand of the dramatic fabric
is lost. Troughton spends most of the second half being upstaged not
simply by Vivien Parry as his wife putting on airs and graces as the
new Lady Mayoress of London, but even by the absurd farthingale she
wears beneath her glad-rags. Between them, Parry’s get-up and the
cod-Dutch accent affected by Josh O’Connor (when his character adopts a
disguise to be near his beloved) account for around 80 per cent of the
laughs.
Dekker is far from a minor playwright of the period, but when a play
such as this strikes a tone bewildering to a contemporary audience, and
a production like Breen’s focuses on that unfamiliarity and heightens
our puzzlement still further, it can be hard to resist cracking the
obvious gag involving the term “cobblers”.
Written for the Financial
Times.