search
date/time
Yorkshire Times
A Voice of the Free Press
frontpagebusinessartscarslifestylefamilytravelsportsscitechnaturefictionCartoons
Phil Hopkins
Group Travel Editor & Theatre Correspondent
@philhopkinsuk
11:21 AM 31st October 2014
arts

She Stoops to Conquer: Lack Lustre Offering By Broadsides

 
In a week that has traversed the terrors of the First World War and the political machinations of the English court - Private Peaceful and Henry IV - it was with some anticipation that I sat down to enjoy the light relief of Irish period master, Oliver Goldsmith and his perennially popular She Stoops to Conquer.

But in a production that had some very contrasting performances, I felt less than enthusiastic for this latest offering by Monsieur Rutter's Northern Broadsides. As one punter commented upon leaving the auditorium: "I was a bit disappointed, felt like a good amateur performance. Maybe it's because Barrie wasn't there to keep an eye on 'em."

For fear of sounding overly broad brush, there were some excellent performances but, overall, something was lacking.

The plot, in which two young rakes are duped into believing the country house they are due to visit is in fact an inn, centres around confusion and mistaken identity of place. Oliver Gomm as Young Marlow was suitably manic as both the tongue tied wreck, ill at ease in the company of women from his own class, and the outrageous sexual predator when presented with females from a lower social order. One of Rutter's 'newbies' I feel sure he'll be around awhile.

But I was not quite as convinced by Hannah Edwards as his female sidekick Miss Hardcastle, the up-market miss charged with socially 'stooping' in order to convince her prospect that she's worth a look.

Period drama is often larger than life which is why Jon Trenchard's foppish Tony Lumpkin worked so well for me. Humorous and extravagant he was one of those OTT characters anticipated by the audience in the knowledge that he would lift proceedings.

However, taken collectively, it felt as if either he needed toning down or some of the other players ramping up, because there was a character imbalance. In isolation I loved his interpretation but wanted more complementary performances that were equal rather than lack lustre.

Nevertheless there were titters aplenty at Goldsmith's witty, warm, script, which has endured for nigh on 250 years, and it is a brave company that attempts to put a fresh spin on such a long established work.

Blending new with old, designer, Jessica Worrall used a screen backdrop on her set, covering them with enlarged digital prints of Gainsborough landscapes in order to bring the exterior world inside and to capture the rural backdrop around which this play centres.

Did I enjoy my evening? Yes I did. Did most of the audience? Yes they did. But then again I'm paid to be picky and when you've put your hand in your pocket you're allowed to be picky. And, when you've had the RSC just five miles away in Bradford, rest assured, if you're a Land Rover masquerading as a smart hybrid, then there's always the possibility that you'll get found out, however, good your previous performances. People will only forgive once!