Handbagged – Regional production – Review

Handbagged by Moira Buffini in a new production directed by Jo Newman

3 out of 5 stars (3 / 5)

Handbagged takes us through the major events of Margaret Thatcher’s reign as British prime minister. I use the word ‘reign’ deliberately because the story is told through a series of meetings between an increasingly regal Thatcher (Eve Matheson) and the actual Queen Elizabeth (Caroline Hacker).

Handbags multiply as those two are overseen by older versions of themselves, played by Sarah Crowden and Susan Penhaligon. Much of the humour stems from the characters commenting to the audience on what is said. Typically: ‘I never said that’.

Production shot of Handbagged at Salisbury Playhouse
Handbagged at Salisbury Playhouse Photo: Helen Murray

Because the play is speculation, no-one knows for sure what was said and the characters are aware that they are performing this version of events for an audience.  ‘Whatever we say, it must stay within these three walls,’ says the Queen. What we are presented with is a conflict between the ideological, deaf-to-compromise, humourless Thatcher (‘No’ being her favourite word) and a more compassionate, ethical and wryly amusing Queen. It’s no surprise who ends up the winner in this handbagging contest.

The author Moira Buffini clearly thinks Mrs Thatcher’s premiership was bad news. If you agree, you’ll get a lot of pleasure in hearing the Queen being upset by the effects of her government’s policies- dividing the nation, creating a greater gap between rich and poor, encouraging greed. ‘We lost the feeling that had persisted since the war,’ she says, ‘That we are all in this together.’ ‘Is she a socialist?’ asks Mrs T.

I never really felt I got beneath the skin of the two women in power, despite the poignant moments of shared sadness at the IRA bomb attack on Mrs Thatcher in Brighton and the assassination of Lord Mountbatten.

I found the history lesson got a bit boring at times but there is plenty of fun to be had in the conflict between these two women in power. All the women do good impressions of the protagonists but Susan Penhaligon is uncannilly believable as the older Queen and- perhaps because we nearly all have this well of affection for the real queen- she gets the most laughs.

Supporting the four women, two men play actors who have been hired to play all the other parts- Denis Thatcher, Ronald and Nancy Reagan, Neil Kinnock, Michael Hesletine, and so on- and who also address the audience with their ‘own’ left wing views, in case we found the Queen’s opinions a little oblique. Andy Secombe and Jahvel Hall provide a lot of knockabout comedy and almost steal the show.

On the whole the performance I saw seemed a little hesitant which, for me, dampened the laughs. I expect, after a few more outings, it will be much sharper.

Handbagged can be seen at Salisbury Playhouse until until 20 April 2019 then tours to York Theatre Royal (24 April – 11 May) and Oldham Coliseum Theatre (14 May – 1 June)

Click here to watch the review of Handbagged on YouTube

Agatha Christie: The Mirror Crack’d – Touring production – review

Rachel Wagstaff’s triumphant adaptation of classic Christie whodunit

5 out of 5 stars (5 / 5)

Watch the YouTube review of The Mirror Crack’d-

The Wales Millennium Centre and Wiltshire Creative touring production of Agatha Christie’s The Mirror Crack’d, adapted for the stage by Rachel Wagstaff,  received its premiere at Salisbury Playhouse.

Production photo showing Katherine Manners in The Mirror Crack'd Photo Credit: Helen Murray
Katherine Manners in The Mirror Crack’d
Photo Credit: Helen Murray

This could have a standard Agatha Christie whodunit but this production is far above standard. Rachel Wagstaff has provided an adaptation that is faithful to the plot and characters, necessarily simplified for a two hour stage show, but with unexpected depth added.

It’s still a story of Miss Marple investigating the death of a villager who expires after drinking a famous film star’s daiquiri.The original shows  Miss Marple concerned that she’s being marginalised by her old age and the changing times (it’s set in the early Sixties). In this story, she is also temporarily disabled to add to her feeling of being ignored.

Production photo showing Susie Blake in The Mirror Crack'd
Susie Blake in The Mirror Crack’d. Photo: Helen Murray

Apart from putting a contemplation of the invisibility of old age centre stage, this play concerns itself with the loneliness of older people.  It also dwells on memory- both the way in which memories affect who we are but also, integral to the plot, the unreliability of memory.

We see the same scene re-enacted on numerous occasions, each time slightly different depending on who is telling the story. Melly Still‘s pared back production with a simple, appropriately dark set by Richard Kent keeps the story moving between flashbacks and changes of scene.

Rachel Wagstaff’s dialogue is also more dynamic than Agatha Christie’s and more robust, by which I mean there’s some swearing.

Production photo showing Susie Blake and Simon Shepherd in The Mirror Crack'd.
Susie Blake & Simon Shepherd in The Mirror Crack’d. Photo: Helen Murray

Susie Blake has some big acts to follow in the role of Miss Marple but she more than holds her own with a mix of quiet determination and sly humour. The rest of the cast, and there are eleven altogether, provide humour and weight. Simon Shepherd is amusing as the pompous, patronising Chief inspector Craddock. Suzanna Hamilton is the fragile film star and Julia Hills is amusing and slightly sad as Miss Marple’s snobbish but empathetic friend Dolly.

The Mirror Crack’d has an entertaining plot with some welcome depth, like biting on a soft chocolate and finding a chewy centre.

The Mirror Crack’d continues at Salisbury Playhouse until 9 March 2019 then visits The Gaiety Theatre Dublin (12-16 March), the Arts Theatre Cambridge (19-23 March) and New Theatre Cardiff (26 March-6 April).

Don Carlos starring Tom Burke – Review

Tom Burke is mesmerising in this powerful production

Production photo of Tom Burke in Don Carlos- 2018 production
Tom Burke in Don Carlos. Photo: The Other Richard

5 out of 5 stars (5 / 5)
Schiller’s 1787 play about about love, freedom and a revolt against totalitarianism is given a powerful, grippiing production by actor Tom Burke and director Gadi Roll‘s new theatre company Ara.

The plot concerns King Phillip II of Spain and his son Don Carlos in 1567. Love drives much of the play, the love of father and son, who have become estranged because of the love the son feels for his stepmother Elizabeth whom the King in effect stole from him, and also the love between Don Carlos and his friend the Marquis of Posa.

Click here to watch Don Carlos reviewed on the YouTube channel One Minute Theatre Reviews

Interweaved with this is a political element in which the totalitarian  government of the king is challenged by the more romantic Don Carlos and his freethinking friend Posa.

There are misunderstandings and sacrifices that add to the drama. And it all happens in the shadow of the Spanish inquisition.

There’s a lot of conversation about the importance of freedom and the wrongs of autocratic leaders that is still relevant today. And the words are forceful in this modern, poetic translation by Robert David MacDonald.

Gadi Roll’s dramatic, stripped back production

Gadi Roll’s dramatic, stripped back production concentrates our attention on those words. The design by Rosanna Vize is a bare black set with black costumes. The actors are almost entirely lit by spotlights that pick out faces and concentrate our attention on what they’re saying. And Gadi Roll’s use of a discordant soundscape is highly effective.

This production has been sold very much on the star quality of Tom Burke which may be why, confronted with so much talking- and it is over 3 hours long- quite a few members of the audience left. In fact, Tom Burke gives a mesmerising performance as Posa. He exudes an inner power and his passion for his cause and for his friend is palpable. 

Darrell D'Silva in Don Carlos
Darrell D’Silva in Don Carlos. Photo: The Other Richard

Since this production puts acting at its core, I must also praise Samuel Valentine as the emotionally unstable, indecisive Don Carlos, Kelly Gough as the conflicted Elizabeth and particularly Darrell D’Silva as king Phillip whose struggle with his feelings and emotional collapse is extraordinary to witness.

There is a riveting scene at the end of Act One between Posa and Philip in which the former speaks frankly to the King about the benefits of allowing freethinking to ‘restore the nobility of man’. The King, even as he argues, is captivated.

For me, this was pure theatre and an engrossing evening.

Don Carlos is performing at Nuffield Theatres Southampton until 3 November 2018 and then at the Rose Theatre Kingston-upon-Thames from 6 to 17 November.

Watch the One Minute Theatre Reviews YouTube review of Don Carlos below

Amendment 29 October 2018- changed ‘engrossing’ in first paragraph to ‘gripping’

Women In Power – Nuffield Southampton – review

Bawdy fun as women turn the tables on men

3 out of 5 stars (3 / 5)
Production shot from Women In Power at Nuffield Southampton Theatres
Women In Power at Nuffield Southampton Theatres. Photo: The Other Richard

Women In Power at the Nuffield Southampton Theatres’ city venue is a new version of AristophanesAssemblywomen. It sticks pretty closely to the original story in which women take over the government from the weak and incompetent men.

Aristotle was having a go at the male politicians rather than seriously suggesting that women could run things so, while they turn the tables on the men by, for example, making it law that the oldest and least attractive women have first choice of male lover, they also introduce pure communism with disastrous results.

Click here to see the review of Women In Power on the YouTube channel One Minute Theatre Reviews

What’s great about this production is that women are in power on stage and off and they’ve produced a very entertaining show that makes some good points about male and female behaviour. It’s written by seven prominent women- Wendy Cope, Jenny Eclair, Suhayla El-Bushra, Natalie Haynes, Shappi Korshandi, Jess Phillips MP & Brona C Titley. The dramaturg is Clare Slater and it has a cast of six women, directed by Blanche McIntyre.

In effect it’s a series of sketches, and perhaps because it’s the work of so many different hands, some work and some are stilted and clichéd but the ones that work are very funny. I should also say, in the tradition of Aristophanes, it’s also very rude, filthy even. I can’t remember ever seeing someone defecate on stage before and, while the scene goes on a bit too long, it’s cringingly convincing.

photo of Lisa Kerr in Women In Power at Nuffield Southampton Theatres
Lisa Kerr in Women In Power. Photo: The Other Richard

There is much fun made of men and their genitalia but also mockery of the women. In one hilarious scene the women vie for a young male’s attention by competing in droopiness and looseness, if you get my drift. In another, Lisa Kerr (whose all round performance skills are very impressive) plays a man who is following the law that he must give up all his possessions. He is persuaded to follow this to its logical conclusion by giving away his clothes, revealing a very funny nude body suit.

The songs which intersperse the production are excellent pastiches of well known musical songs and have uniformly witty lyrics. Whisper it, but they are written by a man Tim Sutton.

Despite the show’s unevenness, Women In Power is well worth seeing.

Women In Power is performing at the Nuffield Southampton until 29 September 2018, then at Oxford Playhouse from 3-6 October.

Here’s the YouTube review of Women In Power on the One Minute Theatre Reviews channel-

Flowers For Mrs Harris – Chichester – Review

A few blooms but no bouquet for a dull production

3 out of 5 stars (3 / 5)
Production photo of Clare Burt in Flower For Mrs Harris at Chichester
Clare Burt in Flower For Mrs Harris at Chichester. Photo: Johan Persson

Flowers for Mrs Harris, a musical based on a Paul Gallico story and directed by Daniel Evans, is set in East London just after the end of the second world war. In a world of rationing and drabness, Mrs Harris has a dream of owning a Christian Dior dress. She goes about achieving this, mainly by being nice to people and bringing out the niceness in them.

Click here to see the review of Flowers For Mrs Harris on the YouTube channel One Minute Theatre Reviews

There are set backs along the way but they are easily resolved within minutes. I think this is the essence of why I didn’t enjoy this musical. There is no grit, no tension, no sense that this won’t have (spoiler alert!) a happy ending.

Flowers for Mrs Harris at Chichester. Photo: Johan Persson

Richard Taylor’s opera-style sung-through music is unmemorable.  To complete a dull presentation, the sets are grey. Even when we relocate to Paris for the second act, they offer hardly anything in the way of scenery or dynamic changes to delight the eye. Only the Dior dresses and of course flowers provide colour, which I guess is designer Lez Brotherston’s point but you have to wait quite a while for those.

And just because it’s a musical, don’t expect any dancing.

On the plus side, there are some good characters well acted by a strong cast that includes Claire Machin, Joanna Riding and Gary Wilmot and especially Clare Burt who is brilliant as the self effacing, resilient Mrs Harris.

I admit I did feel like a miserable git when I saw people around me crying at the end.

Flowers For Mrs Harris can be seen at Chichester Festival Theatre until 29 September 2018

Here’s the One Minute Theatre Reviews video on YouTube-

The Goon Show – Tour – review

The Goons- Still crazy after all these years

3 out of 5 stars (3 / 5)
Production shot of Julian Howard McDowell, Colin Elmer and Clive Greenwood in the theatre tour of The Goon Show
Julian Howard McDowell, Colin Elmer and Clive Greenwood in the touring production of The Goon Show

The Goon Shows are classic radio comedy. Many of us have caught up with them through the eternal repeats on Radio Four Extra. Part of the appeal is the imagination that radio encourages you to exercise. That makes it quite a challenge to present three of Spike Milligan’s Goon Show scripts as stage shows.

Apollo Theatre Company get round that by making it seem like we’re the audience for a recording of the show. That way we can continue to imagine the explosions, falls from great heights and other crazy happenings.

Click here to watch the YouTube review of The Goon Show tour

The team of Julian Howard McDowell, Colin Elmer and Clive Greenwood make a good stab at imitating Peter Sellers, Spike Milligan and Harry Secombe. They are well supported by Tom Capper and musicians Rachel Davies and Anthony Coote.

What was brought home to me was just how well these shows were written. Yes, some topical references are sixty years out of date but Spike Milligan’s surreal humour seems as fresh as anything written today. I laughed a lot, even at the tongue-in-cheek corny jokes.

Nostalgia and laugh-out-loud comedy as Goons go on stage

And there was the undeniable warmth of nostalgia for those long departed comic geniuses and their familiar characters like Bluebottle and Eccles.

If the production is short of anything, it’s the sense of anarchy and spontaneity that Sellers and Milligan brought to the original recordings. You know, the corpsing and improvisation (whether genuine or not). To be fair, I did see this production at its first performance at Salisbury Playhouse and I’m sure that missing element will come as the cast relax into both the show and each other’s company.

If you want an evening of nostalgia and laugh-out-loud comedy, I recommend you see The Goon Show at one of its many stops around the UK.

The Goon Show is at Salisbury Playhouse until 8 September and is touring to Churchill Theatre Bromley, Yvonne Arnaud Guildford, Everyman Theatre Cheltenham, New Alexandra Birmingham, Brewhouse Theatre Taunton, Trinity Theatre Tunbridge Wells, Theatre Royal Winchester, Richmond Theatre, Lighthuse Poole, Blakehay Weston-Super-Mare, Octagon Theatre Yeovil, Princess Theatre Torquay, Haymarket Theatre Basingstoke, Theatre Royal Brighton, Key Theatre Peterborough, The Capital Horsham, Lichfield Garrick Theatre, Leatherhead Theatre, Norwich Playhouse, Theatre Royal Bury-St-Edmunds, Waterside Theatre Aylesbury, Grand Opera House York, South Hill Park Bracknell, Mercury Theatre Colchester, Theatre Royal Windsor, Theatr Clwyd Mold and Leicester Square Theatre London (11 November). For links to box offices, go apollotheatrecompany.com

Further thought: To be fair, theatre is also a medium that encourages imagination.

Watch the YouTube review of The Goon Show below

Copenhagen – Chichester Festival Theatre

Copenhagen by Michael Frayn at the Minerva is rich in possibilities

5 out of 5 stars (5 / 5)

Click here for the YouTube review of Copenhagen in Chichester on One Minute Theatre Reviews

Production shot from michael Frayn's Copenhagen at Chichester Festival Theatre showing Paul Jesson, Patricia Hodge and Charles Edwards
Paul Jesson, Patricia Hodge and Charles Edwards in Copenhagen by Michael Frayn at Minerva Theatre. Photo: Conrad Blakemore

So what is Copenhagen about? Ostensibly it’s about what happened at a mysterious meeting that took place in the Danish capital during World War Two between two of the great quantum theorists- Heisenberg, he of the Uncertainty Principle, and Bohr, who united the two main theories of quantum mechanics. Yes, but what’s it really about?

On the face of it, the play is about three dead people, ghosts if you like- Heisenberg, Bohr and Bohr’s wife- trying to work out between them what happened back in 1942. They keep going over the same ground with different results, and reveal all sorts of interesting things along the way. Appropriately to a play involving Quantum Theory, there are possibilities, probabilities and, above all, uncertainty. In fact the fluid time and colliding dialogue of Michael Frayn‘s play and Michael Blakemore’s bare production which makes the characters seem like protons in the nucleu of an atom give us insights into Quantum Theory.

So here are my thoughts on the possibilities, probabilities and uncertainty of what I saw.

Looking at it one way, the play is about history and science and how the two interlink. Quantum Theory led to nuclear fission which led to the atomic bomb- and a race between Germany and the Allies to create it.

Looking at it another way, it’s about the moral dilemma felt by a theoretical scientist wanting to help win a war but working on a weapon of mass destruction to achieve that victory. Did the meeting affect the outcome of the war?

Then again, the play is about how time and memory work: what happened is always gone and replaced by an unreliable memory influenced by subsequent events. And the impossibility of seeing yourself and your life objectively because you are the centre of your universe.

 

 

Production shot from Copenhagen at CFT
Copenhagen by Michael Frayn at CFT’s Minerva Theatre. Photo: Conrad Blakemore

 

You could say the play is about how people and relationships affect history and science. How jealousy, rivalry, fear, ambition and personal tragedy play their part. Charles Edwards as Heisenberg gives us a moving account of a life under the Nazis. Patricia Hodge and Paul Jesson are his equal in acting power.

You might come out thinking mainly about how impressive it is that an intelligent well written drama can put across all the above.

To go back to quantum theory, Copenhagen could be about how the act of observation changes what’s being observed. My experience might have been different on a different night but when I observed it, I thought Copenhagen at the Minerva Theatre deserved five stars.

Copenhagen is at the Minerva Theatre until 22 September 2018

This is my review of Copenhagen on YouTube

SS Mendi: Dancing The Death Drill – Isango Ensemble – Nuffield Southampton Theatres

Isango Ensemble’s SS Mendi is Powerful Theatre

4 out of 5 stars (4 / 5)

Watch the YouTube review on One Minute Theatre Reviews

Production photo of Isango Ensemble in SS Mendi Dancing The Death Drill at Nuffield Southampton Theatres
Isango Ensemble in SS Mendi Dancing The Death Drill at Nuffield Southampton Theatres

As shocking fact is laid upon shocking fact, it becomes hard to judge SS Mendi- Dancing The Drill Of Death as a piece of theatre, such is one’s outrage at how the British behaved towards black people from the Empire a hundred years ago. But Isango Ensemble have created a powerful musical to tell the human story behind the appalling facts .

Directed by Mark Darnford-May, SS Mendi is about the last voyage of a ship that transported black South African men to support British troops against the German army.

They see themselves as warriors going to fight but actually they will be digging trenches because one of the many appalling things we hear is that the black man is not allowed to raise his hand against the white man- even the German enemy.

The ship is sunk in an accident off the English coast and over 600 dead black South Africans become, as far as Britain is concerned, a footnote to the history of world war one. Until now.

The brilliant Isango Ensemble from South Africa bring to life what is actually an uplifting tale of the life of the people sailing to their doom. It’s a great piece of storytelling that could only happen in theatre.

This is physical theatre at its best, relying entirely on the performers. It’s a mixed gender company but it’s all about the acting so women take on male roles. On a bare stage with minimal props, they talk, sing, mime, play music. They tell individual stories with humour and compassion; they celebrate the men’s pride and humanity; they move fluidly together to provide a physical metaphor for their community as well as for the sea and the ultimate tragedy.

There were moments when some of the co-ordinated movement could have been tighter and some of the voices stronger but I don’t want to quibble in such an excellent production.

Production photo of Isango Ensemble in SS Mendi Dancing The Death Drill
Isango Ensemble in SS Mendi Dancing The Death Drill at Nuffield Theatre Southampton

The terrible patronising racism is there almost from the start when, as the men are recruited, they are given British names to replace their real names. Although the colonial white racism is appalling, SS Mendi does make clear that, there was class and racism among all of humanity as well as a specific British white racism a hundred years ago. The white officer in charge himself faces class prejudice. The black South Africans are prejudiced against each other’s tribes and some initially won’t have anything to do with mixed race person they call a ‘half breed’. So it is more nuanced than a simple attack on British racism.

Despite the horrors, there was humour. I liked the interspersing of traditional British songs into the South African music which was terrific by the way- at times joyous, at others haunting.

Not all the attempts at humour work. Just prior to the sinking, a performer comes on stage with a fog machine. It’s one thing to want us to stand back and understand this is a story being told but that intervention did strike a false note.

I would have liked the play to have been a little longer so that more time could have been spent looking at the lives of these individuals chosen to represent the 600 dead, to give us more chance to connect which would have made the tragic outcome even more poignant.

But it’s a story worth telling and Isango Ensemble use the full power of theatre to tell it. I congratulate Nuffield Theatres Southampton on them to Britain to mount this important production.

SS Mendi: Dancing The Death Drill is performing at NST City until 14 July

Watch the youTube review of  SS Mendi: Dancing The Death Drill on the channel One Minute Theatre Reviews-

Miss Littlewood – RSC Stratford – review

Royal Shakespeare Company’s Miss Littlewood does her proud

4 out of 5 stars (4 / 5)

Click here to watch Miss Littlewood reviewed on the YouTube channel One Minute Theatre Reviews

Clare Burt in RSC's Miss Littlewood, Photo by Topher McGrillis
Clare Burt in RSC’s Miss Littlewood, Photo by Topher McGrillis

On the face of it Miss Littlewood at the Swan Theatre in Stratford-Upon-Avon is a celebration of the theatrical revolutionary Joan Littlewood. Actually Sam Kenyon‘s marvellous musical is a celebration of theatre, or at least of the kind of theatre that she pioneered with shows like Oh What A Lovely War and which is now long established.

Miss Littlewood imagines Joan putting on a production of her own life story. In her now well established theatre workshop style, there is no set, only a few props and an open stage.  The storytelling is episodic. There’s a narrator in the form of Joan. It’s always clear this a play, being directed- by Joan. The actors take on many parts in a very egalitarian way.

In a touch which I’m sure Joan would have loved and which is still a little revolutionary, the casting in Erica Whyman‘s production is colour blind and gender blind. So while the story is set in a past age dominated by white men, the cast reflect today’s society: which means women play some of the male parts and black people play what were historically white people.

I suspect some won’t like it but it works, because good stage actors seize your imagination and take you beyond the literal facts of appearance, as happened in Joan’s productions.

There are some vivid characters, although we don’t get to know many of them in depth. Even Miss Littlewood herself remains enigmatic, although the narrator Joan played by the splendid Clare Burt displays charm, humour, emotion and ruthlessness (she changes the person playing herself six times).

Central to her story is the grand love affair between herself and Gerry Raffles, the man who made a lot happen on the practical level. Unfortunately there seemed little spark between them, charming as Solomon Israel’s Gerry is.

Sophia Nomvete and company in Miss Littlewood at Swan Theatre. Photo by Topher McGrillis
Sophia Nomvete and company in Miss Littlewood at Swan Theatre. Photo by Topher McGrillis

It’s not a full stage musical in that there is very little dancing and the musical numbers advance the plot with witty lyrics rather than moving melodies. However there is one showstopper magnificently led by Sophia Nomvete.

If you love theatre, by which I mean the whole art of theatre, you really must see Miss Littlewood.

Miss Littlewood is at the Swan Theatre in Stratford-Upon-Avon until 4 August 2018. To book, click here.

Here’s Miss Littlewood reviewed on the YouTube channel One Minute Theatre Reviews

The Country Wife at Chichester Festival Theatre

Was it a mistake to modernise The Country Wife?

3 out of 5 stars (3 / 5)

Click here to go to see The Country Wife reviewed at One Minute Theatre Reviews on YouTube 

Lex Shrapnel and other members of the cast in The Country Wife at Chichester Festival theatre. Photo- Manuel Harlan
Lex Shrapnel and other members of the cast in The Country Wife at Chichester Festival theatre. Photo- Manuel Harlan

Some of London’s high class women want sex but not with their unattractive, sometimes abusive husbands. A young man wants sex without commitment so targets married women. How to get the two together while keeping up the image of respectability? The answer: He pretends to be impotent.

The shock caused by the open and judgement-free discussion of sex, particularly by women, when it was first performed, is different to the shock The Country Wife causes today.

The play was first performed in 1675 but many of its elements could form the plot of a play for today, which may be why director Jonathan Munby has shifted the action to modern London.

However I can’t help feeling it would have been better to leave it in the context of its own time because the problem with updating the setting to modern London is not that people’s behaviour has changed- it’s that attitudes have changed. Men patronizing or abusing women doesn’t sit well today as a subject for a jolly romp.

Setting it in the time of the #metoo movement means it’s inevitable that we will question the sexist, controlling, even abusive, men more than we would if it was simply of its time. A production set in the modern day could still be funny but it would need to be darker than this in order to give us some acknowledgement that we are looking at these people through 21st century eyes. Instead, the production remains in Carry On mode, except for a hint that commitment-free sex may not be all it’s cracked up to be.

Also, the plot struggles to work in a mode setting. Today’s well off women, if they want to cuckold their husbands, are usually independent enough financially and in lifestyle to be able to do it. Men or women who want sex without commitment only have to visit Ashley Madison or swipe on Tinder.

Susannah Fielding in The Country Wife at Chichester Festival Theatre. Photo- Manuel Harlan
Susannah Fielding in The Country Wife. Photo- Manuel Harlan

A lot of the verbal humour hasn’t aged well either but the cast throw themselves into it, especially Scott Karim as Sparkish, a would-be one-of-the-lads who thinks he’s much wittier than he is, and Susannah Fielding, hilarious as the naïve wife of the title. All the cast are excellent but Lex Shrapnel in the central role of Horner and John Hodgkinson as the vicious but foolish cuckold Pinchwife deserve a special mention. The laughter quota is helped by a lot of French farce style going in and out of doors.

Although I’m dubious about modernising the setting, I did like Soutra Gilmour’s black-and-white set and costumes- the kind of exaggerated outfits that you wouldn’t normally see outside of a fashion designer’s catwalk contrast cleverly with the naive country woman’s colourful everyday clothes.

It’s worth saying that, lthough The Country Wife seems like a celebration of sexual liberation, two of the characters, Alithea played by a pitch perfect Jo Herbert and Harcourt played by a very amusing Ashley Zhangazha, are driven by romantic love, suggesting that Wycherley didn’t think all men and women were thinking only of sex.

It was an enjoyable enough evening but I can’t see this production lingering in my memory.

The Country Wife ends its run at the Chichester Festival Theatre on 7 July 2018

Watch the YouTube review of The Country Wife at Chichester below