All’s well that ends well in Sheridan’s comedic romp where, as always, the course of love never does run smooth. But for those that think playing games with the opposite sex began with Sex And The City and soul-destroying self-help books, Sheridan’s 18th century comedy proves otherwise.
The farcical, silly and ridiculous meet Peter Hall’s sophisticated direction in the Theatre Royal Bath’s lavish production of The Rivals. Starring an always-endearing Penelope Keith and her former television co-star Peter Bowles, problems, serious ponderings and, to a certain extent, your brain can be left at the theatre door as belief is suspended for two and a half hours of old-fashioned entertainment.
Mistaken identity, secret affairs and naive romantic ideals all take centre stage along with a not so healthy dose of, admittedly hilarious, sexism and diminished intellect. With love letters and mischievous messengers altering the course of their intended destinations, the lives of Bath’s upper-class are thrown into disarray when well laid plans are cast to the wind and confusion leads to… well, a whole lot more confusion.
As the famous Mrs Malaprop – whose linguistic errors steal most of the audiences’ laughter – Keith is as sweet as she is hilarious, as she unwittingly delivers contradictions and riddles in a misplaced attempt at sophistication and intelligence.
Sir Anthony Absolute (Bowles) is her perfect match, arrogantly, but somehow charmingly, denying women the right to education in case it spoils them and comparing them to livestock without any hint of irony or wit.
But the stiff corsets and stiffly set hair of Mrs Malaprop and Sir Anthony Absolute’s generation have been loosened by the next, and Malaprop’s spoilt niece Lydia’s voice has none of her aunt’s pretention, only finding itself heavy and breathy with the prospect of passion, literature and the idea of rebellion. Taking advantage of her desires is Captain Jack Absolute, who, with Disney Prince looks and as much swagger as his father Sir Anthony, sets out to create scandal, but by a twist of fate ends up playing right into his father’s controlling hands.
The supporting cast adds more absurdity to the stage. Tony Gardner as Faulkland, never satisfied, negative and proud, and Keiron Self as the bumbling Bob, both bring with them different brands of physical comedy and endearing idiocies.
Set against a backdrop of marbled walls, with sumptuous Renaissance costumes and a polished, groomed look to the production, The Rivals transcends all lavish distractions to be a comical feast for the ears.
It may have been written in 1775 and somewhat lacks modern sophistication and edge, but Sheridan’s play is a linguistic treasure where people are as refreshingly absurd as they are today, and proves that the problems of the opposite sex have not changed through the ages, whether it is Romeo and Juliet or Carrie Bradshaw and Mr Big fighting for the upper hand.
CM