THE EMOTIONAL damage caused by marital infidelity and the moral ground available to the wronged party provide both the intellectual grist and the comedy in this delightful confection.
An updated version of a Somerset Maugham story, we’re with the well-heeled and well-spoken young things of Bloomsbury – thrusting young doctors in sporting whites, design-obsessed women in fabulously bold frocks, butler at the ready.
In keeping with the 1920’s feel of the piece Anna Fleische’s set is as close as the Swan ever comes to a box set. Long lines and curves round a stylish door and a clever silhouetting reveals anyone heading up or down the screened-off staircases behind.
Beyond the gentle joy of seeing the philandering husband get his comeuppance at the hands of a resourceful and determined wife there is a fair amount of marital politics on display.
Is turning a blind eye preferable to not knowing at all? Is a wife’s infidelity equal to or worse than her husband’s? What balance should the cheated strike between revenge or forgiveness? Straight up vitriol or something altogether more condign?
Quite how much of this comes from Maugham’s original, Laura Wade’s script or just the nature of this particular production is debatable. Marriage and the role and independence of women within it has changed a great deal over the last hundred years but however modern and enlightened the relationship may be betrayal still hurts.
What is beyond doubt is what a sparkling, sharp script this is. There’s a classic English comedy feel to the whole thing. Finely crafted lines delivered crisply. But there’s a modern presence too in comic exchanges fully made the most of by a cast clearly enjoying themselves.
Luke Norris’s errant husband is a kind of brittle matinee idol and Mark Meadows as the discreet but sympathetic butler also shines.
But it’s the women who drive the show and quality abounds wherever you look. Kate Burton as the mother whose morals and views represent the old guard and Amy Morgan as her daughter keen on not sweeping anything under the carpet are both as sharp as it gets.
Rose Leslie taking the pivotal role as the wronged woman whose astute observations and canny plans eventually bring her the resolution she’s looking for is excellent – skittish, smilingly-barbed and never ruffled.
Tamara Harvey’s production is smoothly paced and always entertaining, the overall style never allowed to become too stagey. More might have been expected of Jamie Cullum’s interesting but underused musical contribution but there’s much to like at every turn.
Even with its modern re-polishing this is gentle and amusing fare and it’s refreshing to see the RSC embrace such an offering. Perfect for the summer.
Visit rsc.org.uk for further details..
