Tag Archives: Robert Mountford

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“She Stoops to Conquer” at the Orange Tree Theatre

Moving Oliver Goldsmith’s 1773 comedy to the 1930s proves a neat idea in director Tom Littler’s new production. Add a cracking cast and some seasonal touches and the show, which would be perfect any time of year, makes a very happy Christmas theatre trip.

This comedy of manners and mistaken identity is well known, but Littler makes it blissfully light. The wit is verbose, surely tongue-tying for performers, but the delivery here is always clear. Dashes of Wodehouse help – the division of town and country and a clash of classes become spiffing fun. And Littler is very much at home working in the round, making sure the action zips along among Anett Black and Neil Irish’s stylish design.

This is an ensemble that looks as if it’s having a great time and every role comes into its own. First up are Mr and Mrs Hardcastle, the country gentry, played by David Horovitch and Greta Scacchi. Horovitch gets a laugh out of nearly every line as the “grumbletonian” patriarch. Scacchi keeps up, despite a less forgiving role – anyone else feel sorry for this doting mum who doesn’t get her trip to London? As her prodigal offspring, Guy Hughes is the convivial heart of the play. He’s great with crowds and the Orange Tree’s community performers who have a lovely pub scene – well done them.

Guy-Hughes-and-Community-Company-in-She-Stoops-To-Conquer-credit-Marc-Brenner
Guy Hughes and theCommunity Company

Celebrations continue with the play’s pairs of lovers. Sabrina Bartlett and Robert Mountford are at home as super-toffs plotting to elope, their roles serving as fitting mirrors to our stars, Tanya Reynolds and Freddie Fox. As the leads, the comedy from this pair is perfection. Reynolds is a great flapper. And so is Fox – the perfect “silly puppy” – especially when his “list of blunders” is slowly revealed.

Among the giggles there is sincerity, too. Reynolds shows us the dutiful daughter Goldsmith wrote, as well as the modern woman we want. When she claps her hands at a scheme, you want to join in. But when she starts to fall in love, it’s sweet. And who doesn’t like a rom-com at Christmas?

Until 13 January 2024

www.orangethreetheatre.co.uk

Photos by Marc Brenner

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“Cancelling Socrates” at the Jermyn Street Theatre

Well done to the wag who decided the sign for the toilets should be in both Greek and English at this première of Howard Brenton’s new piece. The bilingualism is indicative of the show’s playfulness and learning – a combination that makes the evening more fun than you might expect.

If you like philosophy in your plays, telling the story of Socrates’ last days is a sure-fire winner. There’s a lot of debate, all of it interesting, and director Tom Littler treats the arguments with swift efficiency. Clarity is appropriate and essential when bringing so much discussion to the stage, and Littler has done a great job.

Socrates’ engagement with future philosophy (more later on how literal this is) provides strong moments for William Reynolds’ lighting design. But, I confess, I found the show increasingly hard work. You’ll spot references to Descartes and Kant and, I think, Deleuze (but don’t hold me to that).

What impresses more is that the constant questioning is given a camp appeal. That Socrates, depicted expertly by Jonathan Hyde, is such a pleasant, genial figure to watch is balanced by the potential threat he poses – combining sincerity with mischievous. It isn’t hard to see why some felt threatened by his famous, continual probing. “But” is said to be a ”lethal” word – and Socrates says it a lot.

When it comes to the famous death, the play lacks an emotional appeal. Again, you could argue that’s appropriate. There is a fine performance from Robert Mountford, who appears as the jailer after having served as Euthyphro, whose eponymous dialogue forms the first scene. The temptation to find contemporary connections, not surprising given the play’s title, pick up pace but raise smiles rather than convince.

Home vs world

The real highlight in Cancelling Socrates comes with Brenton’s focus on women. The characters of Xanthippe (Socrates wife) and Aspasia (who it is suggested was his mistress) make fine roles for Hannah Morrish and Sophie Ward. Both characters feel freer of cliché and fully rounded despite (yet again) presenting two sides to an argument. The scene of them “quarrelling over how to live” is great drama.

The women’s roles take us to the core of an exploration of mysticism and religion within the play, which is a keen reminder of ritual and magic in Ancient Greek culture. Discussion of Socrates “demon” comes with the voice that drives him to argue – the thing that sees him “testing everything to destruction”. This isn’t just a metaphor, but a stage presence, lending some much-needed theatricality to the show. To cram so much into a short piece, with a mostly light touch, is a magical achievement.

Until 2 July 2022

www.jermynstreettheatre.co.uk

Photo by Steve Gregson