This week, the Cambridge Arts Theatre presents a Tilted Wig production of the classic The School for Scandal. First performed at the Drury Lane Theatre in 1777, during the time of King George III and the American Revolutionary War, this show is dubbed “one of the greatest comedies ever written”. Seán Aydon’s adaptation attempts to add a new lick of paint to Richard Brinsley Sheridan’s original play, mixing the antique language with the glamour of a 1950s setting.
Pinks! Oranges! Blues! Sarah Beaton’s set is a feast for your eyes, paired perfectly with beautifully coordinated, and equally colourful, costumes. The set dressing, colours aside, is minimal but decadent. It evokes the grandeur of the high society our characters inhabit without distracting the eye from the action on stage. The focus is solely on the characters.
The play centres around Sir Peter Teazle (Joseph Marcell), an elderly aristocrat who is conned into believing his much younger wife is having an affair. The story is Shakespearean in nature with a hilarious subplot that follows the Surface family, where a scheming uncle plays a series of pranks on his nephews to judge their character after a long time away. One of the brothers is only spoken about for the majority of act one, leading you to question what his true nature is. Is he a lovable rogue? A scheming scoundrel? The show points fingers at the ridiculousness of those for whom gossip is a way of life. Who would go so far as to create their own baseless gossip purely to satiate their hunger for scandal. A topic as relevant today as it was in 1777.
This production has a very strong cast. All but one double up in the principal roles, showcasing their range as actors. A few references are made to their double identities, breaking the fourth wall and letting the audience in on the joke. A nice addition. A surprise joy is Ayesha Griffiths in her doubled role as Weasel. Where her principal character of Maria leaves little room for large expression, Weasel really allows her to prove her talents as a physical actor. Another excellent physical performer is Alex Phelps. In his role of Joseph Surface he exudes confidence and passion, though I fear for the stability of the chaise longue in his wake. He and his brother Charles, played by Garmon Rhys, both dance around the stage to avoid their judgement thanks to Stephen Mynihan’s choreography. Strong too is Tony Timberlake as Sir Oliver Surface, the wealthy uncle with a penchant for pranks. At times, the side characters fall into the pitfall of LOUD = funny, losing the subtlety of Sheridan’s witty dialogue. This is in no way the fault of the actors, who prove themselves very capable of capturing the nuances of their other roles.
Marcell as Sir Peter Teazle; the one actor with a singular role, gives the air of a man one step behind everyone else whose attempts to keep his wife from associating with the conniving gossip club prove ineffectual. His wife meanwhile, played by Lydea Perkins, takes great pleasure in trampling over her husband’s wishes while frivolously spending all of his money. She is saccharin with a biting wit.
Don’t let the old-fashioned language scare you. Like a Shakespearean play you have to “tune in” to the dialogue, but once there you will discover that The School for Scandal is a vibrant, witty, and outrageously silly production that will definitely keep you entertained for an evening.
