Tag Archives: Phoebe Fildes

“The Cabinet Minister” at the Menier Chocolate Factory

Arthur Wing Pinero’s class comedy has been updated by Nancy Carroll for this fine revival. The Victorian piece, about a politician and his wife up to their elegant ears in debt, zips along with plenty of laughs. And Carroll appreciates that even in a comedy, some moments should be played straight. Her adaption is as smart as it is funny.

Carroll also takes the stage, and is superb, as Lady Twombley, whose profligacy threatens her husband’s already perilous political career and the prospects of her children. Things are so bad there’s the “threat of sprouts” as the family might retire to the country and grow their own food; Carroll makes us see her character takes the fate seriously – which makes it all the funnier.

In the titular role, Nicholas Rowe anchors the action. And the chaos increases when his wife becomes indebted to parvenu money lenders Fanny and Bernard Lacklustre. Here are two fun villains, played Phoebe Fildes and Laurence Ubong Williams. The Lacklustre’s ambitions and action aren’t so different – just not as hypocritical. You might end up quite liking them! Pinero treated all his characters harshly and this talented cast never forget that point.

As the Twombley capital diminishes, the clock is ticking to make a good marriage for kids. In practice this is all masterminded by the excellent Sara Crowe who plays an aunt with a “motive”. Enter the Scottish Macphail clan – well, mother and eligible son (played with suitably extravagant accents by Matthew Woodyatt and Dillie Keane) – on the lookout for a bride.  Because The Cabinet Minister is a romance too! Carroll and Rowe’s considerable chemistry helps immeasurably. But it is Rosaline Ford and George Blagden who play the couple to root for. Blagden, as “poor, unhinged, and a little pungent” Valentine, a character who has travelled the world to escape his privilege, is a surprisingly recognizable figure.

While it is fun to see how little politics (and people) have changed since the play was written, the point can be overplayed (a coda shows a modern moment that doesn’t pay off). Along with the cast playing instruments, which is impressive but adds little, the production is a little fussy at times. But director Paul Foster does an excellent job overall. As the plentiful innuendo, puns and glorious putdowns indicate, it is the language that provides the jokes: impeccably delivered and making the show great fun.

Until 16 November 2024

www.menierchocolatefactory.com

“A Woman of No Importance” at the Vaudeville Theatre

Dominic Dromgoole’s latest project, with his new company, Classic Spring, is a year of Oscar Wilde plays. It’s off to a fantastic start with this story of adultery and sexual inequality. Wilde, the Victorian radical, has a sharp eye on masculine privilege that feels depressingly topical.

Providing effective pathos is Eve Best as the wronged woman, Mrs Arbuthnot. It’s hard for modern ears to hear her self-excoriation. But Best sets up an underlying anger towards her reencountered seducer (impressively performed by Dominic Rowan) that thrills. Best and the whole company’s handling of the play’s plentiful melodrama is masterful – a few well-placed laughs help us over some crippling sincerity.

This play is serious. But this is Wilde, so the comedy is as good as any you could find – in his day or now. Leading the epigrams alongside Rowan is Emma Fielding as the archly aesthetic Mrs Allonby. And there’s a great little performance from Phoebe Fildes as a sophisticate in training. Leading the way are Eleanor Bron and Anne Reid as two aristocratic dowagers giving top-class performances. It takes a lot not to be controlled by Wilde’s comedy; both make the lines natural, while Reid’s suggestion of a little too much digestif in the third act is a cheeky move that gets a laugh with every line.

So far, this is strong actors making the most of a genius. More than enough reason to see the show. But Dromgoole has a programme of ideas driving his production that elevates this to one of the finest of revivals.

First is the idea of exploring the proscenium theatre that Wilde’s plays were written for and that the Vaudeville is such a gorgeous example of. Let’s celebrate this wonderful format. It leads to fantastic sets and costumes from Jonathan Fensom and sensitive lighting from Ben Ormerod. Scene changes include some songs and period numbers arranged by Jason Carr – now that’s entertainment. After years at Shakespeare’s Globe, Dromgoole is an expert at the potential of a period.

Dromgoole also knows how to make sure a play doesn’t get stuck in the past. In a revelatory move, he’s utilised a study of the play’s previous drafts. The assumption that Wilde would have been bolder had the theatre of his day allowed it is a point for discussion. But it’s a fun debate, and all-too- suitable for a figure whose legacy has been so often used (and abused). You have to know the text well to work out what’s gone on, and plenty of lines still feel old-fashioned, but the idea is brave and effective. Classic Spring has a winning formula set up for an exciting year. Get booking.

Until 30 December 2017

www.nimaxtheatres.com

Photo by Marc Brenner