The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Country Wife
By William Wycherley
A Stables Theatre production
Directed by Maureen Nelson with Andrew Bruce
12–20 June 2009
Reviewed by David Johnson
By William Wycherley
A Stables Theatre production
Directed by Maureen Nelson with Andrew Bruce
12–20 June 2009
Reviewed by David Johnson
If the bawdy humour of Restoration comedy is to your tastes, then you will have enjoyed the Stables Theatre’s lively production of William Wycherley’s The Country Wife. This was an ambitious play, in recognition of the 50th anniversary of the theatre, which coincided with its run.
The play satirizes the intertwined lives of the London social set of the late 17th century. It was first performed at the Theatre Royal, Drury Lane in 1675 but then banned between 1753 and 1924 due to its sexual explicitness and the, for the times, shocking unfaithfulness of its heroine. Today’s theatre-goers need not have worried, for by modern standards the pun and innuendo that was central to its discourse was suitable for a wide audience.
The large cast were sumptuously dressed in excellent period costumes, made by Judy Atkinson and Maddy Lowry, (apart perhaps from enough shoe polish, churlish though it seems to mention it).
They treated us to two-and-a-half hours of storytelling, with our attention engaged by the fast-paced script that stayed faithful to the language of the time. All credit to the players who grappled with this tricky language, and the challenges of precise diction and variation in tone and pitch, to bring the text to life.
Stables newcomer, Daniel Greest, looked every inch the rakish Mr Horner, and John Turner as Mr Pinchwife was commandingly assured as the bitter and occasionally sinister husband cuckolded by his beautiful new wife; the role of Mrs Pinchwife being portrayed with a charming naivety by Jennifer Maclean. Others too contributed strongly, with Tom Herrington reminding us of Lord Percy of Blackadder fame in his portrayal of Mr Sparkish, Charlotte Eastes as the feisty Alithea Pinchwife and Matt Jones as the quite splendid buffoon Sir Jasper Fidget.
Credit too for the director, Maureen Nelson, whose tight direction on a well designed and stylish set kept the play moving and managed the large numbers of people, many quick entrances and exits and the Restoration requirement for two dances.
This was a spirited production that held a looking glass up to the mores of those close to the court of Charles II and, despite no happy ending, had something relevant to say about the truth of both male and female desire that goes beyond the society it satirized.
The play satirizes the intertwined lives of the London social set of the late 17th century. It was first performed at the Theatre Royal, Drury Lane in 1675 but then banned between 1753 and 1924 due to its sexual explicitness and the, for the times, shocking unfaithfulness of its heroine. Today’s theatre-goers need not have worried, for by modern standards the pun and innuendo that was central to its discourse was suitable for a wide audience.
The large cast were sumptuously dressed in excellent period costumes, made by Judy Atkinson and Maddy Lowry, (apart perhaps from enough shoe polish, churlish though it seems to mention it).
They treated us to two-and-a-half hours of storytelling, with our attention engaged by the fast-paced script that stayed faithful to the language of the time. All credit to the players who grappled with this tricky language, and the challenges of precise diction and variation in tone and pitch, to bring the text to life.
Stables newcomer, Daniel Greest, looked every inch the rakish Mr Horner, and John Turner as Mr Pinchwife was commandingly assured as the bitter and occasionally sinister husband cuckolded by his beautiful new wife; the role of Mrs Pinchwife being portrayed with a charming naivety by Jennifer Maclean. Others too contributed strongly, with Tom Herrington reminding us of Lord Percy of Blackadder fame in his portrayal of Mr Sparkish, Charlotte Eastes as the feisty Alithea Pinchwife and Matt Jones as the quite splendid buffoon Sir Jasper Fidget.
Credit too for the director, Maureen Nelson, whose tight direction on a well designed and stylish set kept the play moving and managed the large numbers of people, many quick entrances and exits and the Restoration requirement for two dances.
This was a spirited production that held a looking glass up to the mores of those close to the court of Charles II and, despite no happy ending, had something relevant to say about the truth of both male and female desire that goes beyond the society it satirized.
Also in this section >
Photographs > www.artypharty.com
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
