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The School For Scandal Director:Linda Davey Adelaide Repertory Theatre Thurs 27 April Season closed What a mixed bag of lollies that was! Director Linda Davey put out word - "let's have fun with this one" and by God, they did. RB Sheridan's total play output was four but they were so popular, he was buried in Westminster Abbey for his services to the arts. He wrote 'The School For Scandal' in 1777 before a 30 year career as a politician, commencing at the tender age of 28. I can well imagine the MP for Stafford giving one of his famous oratories supporting the American colonists ironically while he is being lauded for his scandalous comedy of manners. Davey employed a plethora of theatrical techniques and styles that rarely grace the Rep's stage. The core of her thesis was that scandal has remained essentially unchanged since the British press was able to mass-distribute it in Georgian times. She demonstrated this with copious use of video and modern imagery to link the present with the past. These need not have intruded on the prologue as Sheridan's lines stand by themselves to this very day. While the video presence of Ms Clackitt as a TV goss boss was initially interesting, there were far too many repeats. Actually, the play gets off to a slow start because Sheridan doesn't bother with a plot for the first forty-five minutes, and the over-the-top behaviour and cackles of the gossipers signaled that the dialogue was far more amusing to them than the audience. Too much caricature and not enough character. It's in the second act where the plot drives the situation comedy with mistaken identity and deliciously embarrassing moments. I will not soon forget the telling faces of Sir Peter and Lady Teazle and Joseph Surface when all is undone by Charles. Nicole Rutty as the aforementioned vainglorious Lady put in an elegant and genuinely expressive performance. Adam Tuominen was a consummate professional as you would expect from a NIDA graduate. Tony Busch as Sir Peter seemed to reprise his Georgian role as the King in 'The Madness Of George III.' Somewhere inside Nicholas Ely might be a great actor, but maybe his wig was on too tight in this show. While Davey and her actors struggled to find their way between engaging theatre and fop, the design was quite fantastic. Hair and make-up by Denis Harford was evocative and added immensely to the fun - the stark asymmetric shading on Paul Rodda's dial was very intriguing, for but one example. Ole Weibkin's set was a work of art all by itself: not only did it seem to re-fold like origami to invigorate each new scene, but a kaleidoscope of colours, patterns and textures were superbly coordinated with the outlandishly sumptuous costumes of Bev George and Barbara Morris in a way reminiscent of a Peter Greenway film. Bravo! Abetted by the marvelous design - the likes of which I had not previously seen at the Rep - Davey may have been better off letting Sheridan's text alone speak to us of modern times, instead of making the point with a sledgehammer.  |
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