Reviewed by David Cronin
This classic comedy is a veritable feast for any lover of fine theatre. While we expect good comedy to go from the ridiculous to the sublime, the twists and turns in this fun-filled frolic leave ample time for many other superlatives along the way. Hilarious it is, and this is not only due to the excellent script that boldly goes beyond the bizarre. It is the direct result of the high quality of the performances by each member of this large ensemble.
The two writers, George S Kaufman and Moss Hart, use this brilliant piece of theatre to satirise the weird foibles of their budding American culture. They target their fascination with the rich and famous, along with their imitation of the English class system, as well as the political upheavals happening around the world. At that time absurdity was no longer just a new art form, and fascism was a force, much more than a mere threat. So what’s changed you may well ask?
The plot is full of surprises, flowing from one accident to another with the grace of a freight train leaving the rails in a slow-motion train wreck. While the pace of the play is relentless, it allows plenty of space for each of the characters to reach their full potential. Peter Goers is perfect as the acerbic Sheridan Whiteside, but this is no shoe-in; rather a master class in the art of acting. Sheridan’s superior attitude is backed by his reputation, making those around him besotted by his fame, and fawning on his every word. He uses his sharp tongue to take complete control of the situation – or does he? With all the pairings that are the basis of great comedy from Commedia del Arte onwards, the servant can turn a trick and the tables on her master, and the young lovers may yet manage to overcome their obstacles.
Likewise Jess Corrie and Helen Geoffreys take their two lead roles to exquisite extremes of completion, their animosity driving the drama far deeper than any simple comic farce. The sub- plots and love trysts are worthy of any Shakespearian play, and heighten the action with poignant moments. Michael Griffiths is commanding as the dashing Beverly Carlton, slipping in a song on the grand piano that turns out to be not just a stage prop.
It must be said again: the greatest delight is the comic timing of each and every cast member, their vast experience shining clearly through in both the delivery of the laser-focused wit and the physically whacky performances. We enjoy the full range, from just a look across an often crowded room to clever slapstick. And the shared joyful laughter filling the house is still the best medicine for body and soul. This fabulous production by The Rep’s team is already quite overwhelming the box office, so be quick to beat the eager onslaught.
Directed by Sue Wylie.
