Reviews
This polished production of Oscar Wilde’s trademark witty play, set in 1895, is a delight, its clever aphorisms delivered with aplomb by a cast that revels in the silliness of upper-class English society. While the dialogue is hilarious, there is seriousness and cynicism in the playwright’s observations. Public and private honour are issues in between the frothiness of social life.
Directed by Michael Twomey, this production celebrates 50 years of the Everyman Theatre Company. It is a real crowd-pleaser, with beautiful costumes, and a tasteful set designed by Jim Queally.
The play opens at a party in the home of Sir Robert Chiltern, who is a member of the House of Commons. He is an ‘ideal husband’ to Lady Gertrude Chiltern. Because Lady Chiltern is so virtuous, she is a bit of a bore. But the same can’t be said of the other women in this comedy.
The women are the more interesting characters, as they try to bolster up the men, while also broaching the subject of women’s place in society. One woman sure of her goals is the scheming Mrs Chevely, who attempts to blackmail Sir Robert into supporting a fraudulent scheme to build a canal in Argentina. She has a damning letter from Sir Robert, whose wealth is built on having sold a Cabinet secret years previously.
Shirley McCarthy, as Mrs Chevely, gives a tightly sustained performance as a shrill, malevolent woman. She is memorable, and pitted against the good wife. Mrs Chevely chillingly says “morality is simply the attitude we adopt towards people whom we personally dislike.”
Mrs Markby is well played by Ronnie O’Shaughnessy. She is an older woman, somewhat aghast at modern women as exemplified by the flirtatious and forthright Mabel Chiltern (Roisin Donovan), who finally gets her man.
Stolen letters and misconstrued motivations dominate the final scene, where everything is happily resolved. However, Mrs Chevely is nowhere to be seen.
Matthew Bourne’s adaptation of Swan Lake is a far cry from a traditional ballet and all the better for it. In its 19th year, the modern classic continues to mesmerise audiences with its raw love story and convincing protagonists.
The perceived delicacy of ballet is overthrown by the all male swan ensemble who bring incredible strength and menace to the stage. This bold move by the director is the hallmark of the production and is used perfectly to illustrate the turmoil in the love story unfolding between the prince and the male swan.
Lez Brotherston takes a rebellious route with his costume design, with not a tutu in sight. The male swans appear bare-chested, sporting feathered pantaloons and dancing in their bare feet. The decision to have the dancers bare so much flesh and perspiration adds to the erotic charge of the dance. The rest of the cast are clothed like glitterati, with choruses of well-heeled servants swooping in to move the show along.
The prince is the centre of the story line, first taking up with an uncouth young lady who brings plenty of comedy to the stage. Bang up to date, she even commits the crime of answering her phone while in a theatre box with her mother-in-law, the queen! The girlfriend remains part of the plot, unaware of her beau’s development of a love affair with the male swan.
The queen is a fantastic piece of work and elevates the drama each time she appears onstage. A tremendous fight with the prince in the first act showcases the mettle of both their acting skills and engages the audience with the nuances of their relationship.
The male swan is both a beautiful liberator and the author of the prince’s destruction. His role is wonderfully complex; when not wooing the prince, he is taunting him in outrageous acts of flirtation with the queen. Not a moment of this production is without artistic merit, it has earned its title of a modern classic.
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