The School for Scandal

Richard Brinsley Sheridan 

Directed by Tinuke Craig. 

Royal Shakespeare Theatre

Tues 9th July 2024

Society’s quest for salacious gossip, obscene glamour and manipulation of the weak is very much the focus of Richard Brinsley Sheridan’s 1770s comedy of manners, The School for Scandal. Ramping up the decadence and scandalous behaviours of the characters who control the narrative, director Tinuke Craig’s production also leans into reflecting upon the idea of passive voyeurism: “if you weren’t interested, why did you buy your ticket?” admonishes Siubhan Harrison’s delightfully instagram-influencer styled Lady Sneerwell, as the set up of this version of the 18th century text demonstrates that we, the audience are all complicit in any downfall that happens from hereon in. 

Sheridan’s script is complicated. Character after character is introduced to us, many of their lives interwoven and intertwined, and the story which involves several characters either directing or revelling in the undoing of others’ reputations is made more complex with the addition of disguise and subterfuge, as the names we are introduced to become more and more intricately involved in various plots and plans. 

Ostensibly the story revolves around Sir Oliver Surface (a commanding Wil Johnson) the rich merchant who has been away for 16 years. He has two nephews, Joseph (Stefan Adegbola) and Charles (John Leader) young men who have been under the supervision of Sir Peter Teazle (a resignedly funny Geoffrey Streatfield) in their Uncle’s absence. 

Teazle also has a ward, Maria (the likeable Yasemin Ozdemir) who is in love with Charles (but is courted by Joseph.) Teazle is married to a much younger woman, Lady Teazle (Tara Tijani) by choice, but one would never know that given his character’s entire modus operandi of complaining about the gap in their ages. 

Add to this mix, the gossip of Lady Sneerwell’s high society rumour mill, consisting of Mrs Candour (Emily Houghton) Crabtree (Jason Thorpe) and Patrick Walsh McBride’s pony-stepping Sir Benjamin Backbite, and the stage is set for manipulation and happiness at the guided misfortune of others. 

Sir Oliver comes back home, in secret, to decide which of his nephews is most deserving of his fortune, and disguises himself in order to obtain information to support his decision. 

There are sub-plots a-plenty, Lady Sneerwell’s aide Mr Snake (Tadeo Martinez) living up to his name, and new and more convoluted stories introduced throughout, and it is perhaps because of this that the RSC have decided to present this show in the manner that they have. 

The use of projections onto the (very pink) backdrop, introducing the names of characters, at times scribing what the characters are saying, identifying location and hammering the context home are both welcome (this is a confusing play) and distracting. 

The design is glorious – the pinkest set you’ve ever seen, and updated Georgian  costumes which are absolutely stunning, serve to show the hierarchy of the characters and highlight their various flaws, but the over-presentational acting styles, repeated motifs and flourishes and winks and nods to the audience are at times jarring and feel a little like sledgehammers have been employed to crack the nuts of our understanding. 

Sheridan’s text is acerbicly funny and doesn’t really need the over the top demonstrations of this physicality to land, this occasionally dectracting from the humour rather than adding to it. That said, this is the most clear version of this play that I’ve watched and the cast are very very good. 

This production has real highlights – notably the clear ensemble nature of the cast (who are also working in rep on The Merry Wives of Windsor) and the delightful interpretation of the characters who work as a seamless ensemble. D. J. Walde’s music is integrated extremely well, played by the talented musicians in the boxes. The video design is clever and adds a lovely visual support to the plot, and the use of the trapdoors is fabulous. 

This is a clear and funny interpretation of this text, well produced and performed, but the updating and layering of the original to be presented to a 21st century audience is a mixture of hits and slight misses. Overall, however, it seems to hold true to the intent of the original, fully embracing the notion that “we are all ridiculous” and achieving raucous laughter and huge rounds of applause from the appreciative audience, who certainly did not regret the complicity of purchasing their tickets.