Theatre
The School for Scandal (Olivier) The Awakening (Hampstead)
Genial malice
Christopher Edwards
How do the English prefer their wit: cynical and worldly a la Wycherley and Etherege or genial a la Sheridan? Restora- tion or 18th century? The division, of course, is misleading, but to judge from the number of revivals of Restoration works it would seem that wit laced with a dash of manipulative malice is still popular. Now, with this revival of Sheridan's masterpiece, there is a chance to see his warm and affable spirit at work. There is, however, nothing to say that geniality cannot be used in a calculating manner. Sheridan knew perfectly well how attractive malice can be to spice up humour. So, early in the play, we are introduced to those famous gossips, Lady Sneerwell, Mrs Candour, Mr Snake and Sir Benjamin Backbite. They are funny, but Sheridan manages both to exploit their wit and to use it as a foil for his play's theme, which is Good Nature Triumphant. For it is the maligned and plotted-against Charles Surface who in- herits his rich uncle's fortune and marries the decent little Maria.
This is safe (some would say tame) fare after the buzz of Restoration wickedness. Even Lady Sneerwell's entourage seem sportingly spiteful. Only Alan David's leer- ing Mr Snake really invokes this earlier spirit. Even then, Sheridan manages in- geniously to rope him into the cldnouement to help give Lady Sneerwell et al their comeuppance. But Sheridan was in step with the changing times and his play was a great hit. This is a sumptuous-looking revival. Newsprint is everywhere to be found. In the scene changes characters rush on read- ing the latest editions and exchanging gossip. John Gunter has even covered the furnishings, walls and floors with newsprint too. The set is a monument to social rumour; tattle is printed on the pennants and sails of the ships riding at anchor on the Thames, tongues of cartoon bubbles stream out in all directions from a weath- ercock device overhead. True, you some- times feel that the designer's more elabo- rate effects — such as the arrival in port of Sir Oliver Surface's ship — are dictated by self-indulgence or by a wish just to fill up the Olivier's yawning spaces. But the period costumes are splendid, as are the red chinoiserie fittings of the rogue Joseph Surface's lodgings. The acting too is accomplished. It is a particular pleasure to see John Neville back at long last on the English stage. He gives a fine performance as the tetchily decent old Sir Peter Teazle. I particularly enjoyed the polish and timing of his sparring with the young and wilful Lady Teazle — played with bright-eyed mischief by Diana Hardcastle. Jeremy Northam is a splendidly creepy Joseph Surface, Dennis Quilley a robust, booming Sir Oliver and Prunella Scales an irresistible Mrs Can- dour. Peter Wood directs this jolly and genial revival.
There is some excellent acting to be found in Julian Garner's play The Awaken- ing, at the Hampstead Theatre. Set in Norway between the two world wars, the Play follows the path led by Johannes (Con O'Neill), who has been imprisoned for raping and killing an eight-year-old girl. When we meet him he has been locked in solitary confinement for two years and Converted to Christianity by a dogged Salvation Army worker called Agnes (Lin- da Bassett). Agnes convinces the author- ities that Johannes should be allowed to Work on a remote island farm. She believes he is now safe and that he should be given the opportunity of some measure of re- habilitation.
It strains credulity somewhat when we discover that Agnes leaves him on the island with a solitary young woman, Uhn (Gabrielle Reidy), whom Agnes helped bring up. Further developments in the plot seem entirely contrived and melodramatic --- such as the arrival on the island of the dead girl's father. Thanks to the superb acting I was convinced by the romance that develops between Uhn and Johannes, even if I could not suspend my disbelief at the oyerloaded plot. The atmosphere of ten- sion, uncertainty and passion generated by the two actors is certainly gripping. We are also, however melodramatically, led into a debate about punishment and redemption. I expect we will be hearing further from Mr Garner. John Dove directs.
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