The Beaux Stratagem at The Olivier

Did we invent sex?  Of course not.  It was alive and kicking in 1707 when George Farquhar wrote his late Restoration comedy, The Beaux Stratagem.  This play, the playwright’s take on love, marriage and divorce, is a bawdy, innuendo filled comedy, which is currently showing in The Olivier Theatre.  Brilliantly directed with a lightness of touch by Simon Godwin it’s a real tonic.

Performed on a cleverly designed set by Lizzie Clachan, which quickly switches from a timbered inn to a galleried country house and back again several times, The Beaux Stratagem centres on two fortune hunters, Aimwell and Archer.  Although both gentlemen, Archer is posing as Aimwell’s servant and, having blown their inheritances in London the two lovable rogues have travelled to Lichfield to try and secure the affection of two wealthy females.  Played by Samuel Barrett and Geoffrey Streatfield respectively these two insolvents make a fine double act.  The main female character is Mrs. Sullen (a star turn by Susannah Fielding) who is less than satisfied with her “block-head” husband.  Needless to say, she eventually becomes enamoured with Archer, whilst her sister, Dorinda (Pippa Bennett-Warner) is wooed by Aimwell.  A quickie divorce from the passionless, drunkard, Mr. Sullen (Richard Henders) ensues and all live happily ever after.  Hurrah for female emancipation.

A big bonus to the romantic capers taking place on stage, is the lively singing and dancing of the cast alongside several talented musicians.  Michael Bruce, the man in charge of music is to be applauded and Geoffrey Streatfield and Susannah Fielding in particular are in fine voice.

Whilst the whole cast are excellent in their respective roles, the one stand out performance is Pearce Quigley playing Mr. Sullen’s butler, Scrub.  His deadpan delivery is a side-splitting joy.

It’s always a treat when a cast appears to be enjoying themselves as much as the audience and this is the case here.  So whilst this frivolous frolic could perhaps be a tad more frolicsome, it is, nevertheless, a very entertaining night out.

Temple at The Donmar

I’m not a great lover of political or religious plays and Temple concerns both.  Its saving grace for me is that it stars Simon Russell Beale, who, as is to be expected, is marvellous in the role of The Dean.

Temple, written by Steve Waters, is an imagining of what went on behind the scenes in St. Pauls during the Occupy London protests of 2011.  It highlights the emotional and constitutional crisis that went on within the solid walls of this iconic cathedral. 

The Dean, the Right Reverend Graeme Knowles is sympathetically portrayed by the great Mr. Beale.  At the time, he was severely criticised for closing the cathedral, albeit briefly, and also for taking the side of the London Corporation against the camp.  His actions caused the resignation of the “right on” Canon Chancellor, as played here by Paul Higgins. 

The play takes places on the morning of the 28^th October with the cathedral about to re-open.  Set in the Chapter House, the designer Tim Hatley captures the majesty of the building at the heart of the story by having it loom up behind the huge upstage windows. With tom toms beating away in the background, the scene is set to great effect.  Simon Russell Beale’s Dean is in crisis.  Anxious to re-open the church for worship, he is surrounded by problems on all sides.  His resigning Canon Chancellor is not going quietly, the female Verger (Anna Calder-Marshall) is concerned that the building isn’t ready, whilst Malcolm Sinclair’s lofty Bishop, although sympathetic, is hopeful of reaching some sort of agreement with the protestors.  Added to this, he has a new, young and not altogether finger on the pulse, personal assistant (Rebecca Humphries).  Also, and more importantly, he is under pressure from the City of London to evict the protestors.  Not a great start to the day.  Mr. Beale does a wonderful job, as not only does he show the isolation the Dean feels, but also determines that his initial unsympathetic character eventually elicits our sympathy.  We truly believe he is a man of the cloth, communing with his maker during his many active silences.

Steve Waters has written a thought provoking play which highlights aspects of the “occupation” of which I was unaware.  However I do find it hard to believe that the Dean would end up listening to the pearls of wisdom his new PA has to offer seeing as how she appears so dim witted at the start.  It is to Rebecca Humphries credit that she does just manage to change from gawky useless to authoritative voice. I could also have done without the contrivance of bringing on two choir boys towards the end, even though they did sing beautifully.

As usual, Howard Davies does a great job in directing a tightly controlled production with more than a hint of humour, especially when Malcolm Sinclair is centre stage.

American Buffalo at Wyndhams Theatre

For the uninitiated American Buffalo isn't a play about a genus of bovine but concerns a copper nickel five-cent piece.  At least this is the main premise but dig deeper and the play is about much more than that.  David Mamet insists that his characters never mean what they say but always mean what they mean.  So his 1975 play, whilst centering on a plot to steal the coin of the title, is actually about how men interact with one another and the certain codes of contact between them.  It also concerns business, money, friendship and betrayal and, with just three men in the cast, is a true ensemble piece that draws you into their relationship with one another.  The script is littered with expletives, a common occurrence in Mamet’s plays, but there is a beauty to the language.  The swearing is used when the correct adjective or adverb is unknown to the men.  This is not to say they’re totally uneducated, just not terribly literate and why anyone would be offended is beyond me.  It is the language of such men and after a while the words become part of the landscape and are forgotten.

The action takes place in Don Dubrow’s (John Goodman) junk shop. beautifully realised by the Set Designer Paul Wills.  There is no available space, as objects, ranging from old bicycles to various signs and dilapidated toys, hang and lean everywhere. 

Don has sold a rare coin, the American Buffalo of the title, to a customer for a mere $90 and is determined to do a bit of business by stealing it back and then re-selling it at a much higher price.  Having found out where the customer lives, he has instructed his “protégé”, Bob (Tom Sturridge), to keep a watchful eye on the potential crime scene in order to ascertain the best time to strike.  The problems arise with the arrival of Walter Cole/’Teach’ (Damian Lewis) who, on discovering the plan, wants to be part of the action instead of Bob.  The trouble is, they, plus the unseen Fletcher, are four of life’s losers and whatever they touch turns to dust.

The three actors are exemplary, although John Goodman appears the most at ease and comfortable in his role as Don.  Being American must surely help, for whilst the other two actors have mastered the US vernacular, their accents do occasionally sound forced.  Damien Lewis, almost unrecognizable in a crumpled rust coloured suit, matching shoes and droopy 70’s moustache, plays the showiest character and expertly manages to portray Teach’s neediness which he tries to hide with ego and bluster.  The young Tom Sturridge gives enough twitchy mannerisms and nervousness to show his vulnerability and dependence now on Don instead of drugs, whilst John Goodman is magnificent.  Don is not the brightest pebble on the beach and has trouble programming his thought process.  Thanks to Goodman’s expressive face we’re always aware of this and his eventual realization that he is betraying Bob. His guilt is as palpable as his compassion at the end of the play. 

These men are life’s losers but they do have feeling.  The ending is unbelievably poignant and even the self-centered and self-pitying Teach portrays a certain degree of self-awareness.

With tight direction from Daniel Evans and star billing all round, this production has no disappointments.