November 18, 2008
Sir Peter Hall’s production of An Ideal Husband makes a welcome return visit to the Playhouse this week for the penultimate stop of its national tour. Tickets are selling fast and, judging by tonight’s performance, it would be very wise to buy yourself a ticket before it’s too late. You certainly wouldn’t want to miss it.
Oscar Wilde’s work is certainly socially satirical, but the underlying messages are serious: the pomposity, vapidity and boredom that permeate aristocratic society; the stark divide in gender roles; the dangerous lure of power, money, status; and the common misconception of love for idealised adoration. The result: a play punctuated with tension, comedy, uncertainty, emotion and ultimately, one might say, relief.
Wilde’s delightful script needs a strong cast and, thankfully, that’s just what it gets in this case. Indeed, we are spoilt. Michael Praed does a fine job as Sir Robert Chiltern, the highly-respected politician whose career and ‘ideal’ marriage are suddenly put under threat by a dishonourable secret. Kate O’Mara is the convincingly conniving Mrs Chevely, armed with the letter that would ruin Chiltern. Robert Duncan, meanwhile, is excellent as Lord Goring, the lazy yet lovable – and incredibly witty - fop, constantly reminded of his faults by his father (wonderfully played by Tony Britton). His flirtatious exchanges with the frivolous young Mabel Chiltern, played by Isla Carter, provide much laughter, and the chemistry between the two of them is excellent. In fact, Carter’s performance in particular marks her out as a name to look out for in the future.
With a running time just shy of 3 hours, An Ideal Husband demands a lot from its viewers. However, the slick dialogue between, and captivating command of, the actors, prevents the play from dragging. The stage production also plays a part in this: the production set is visually stunning, with clever and powerful prop-work - a symbolic image of a huge coin hanging at the very front of the stage, the somewhat dour profile of Queen Victoria hiding the scene changes behind it. There was one surprising blip involving a slight collision with the stage mantelpiece and a chair but this was resolved quickly enough and soon forgotten. The music, meanwhile, accompanies the start of each act and the changes of props, is suitably elegant and emotive – just like the production itself.
A definite must-see if you can get hold of a ticket.
Oscar Wilde’s work is certainly socially satirical, but the underlying messages are serious: the pomposity, vapidity and boredom that permeate aristocratic society; the stark divide in gender roles; the dangerous lure of power, money, status; and the common misconception of love for idealised adoration. The result: a play punctuated with tension, comedy, uncertainty, emotion and ultimately, one might say, relief.
Wilde’s delightful script needs a strong cast and, thankfully, that’s just what it gets in this case. Indeed, we are spoilt. Michael Praed does a fine job as Sir Robert Chiltern, the highly-respected politician whose career and ‘ideal’ marriage are suddenly put under threat by a dishonourable secret. Kate O’Mara is the convincingly conniving Mrs Chevely, armed with the letter that would ruin Chiltern. Robert Duncan, meanwhile, is excellent as Lord Goring, the lazy yet lovable – and incredibly witty - fop, constantly reminded of his faults by his father (wonderfully played by Tony Britton). His flirtatious exchanges with the frivolous young Mabel Chiltern, played by Isla Carter, provide much laughter, and the chemistry between the two of them is excellent. In fact, Carter’s performance in particular marks her out as a name to look out for in the future.
With a running time just shy of 3 hours, An Ideal Husband demands a lot from its viewers. However, the slick dialogue between, and captivating command of, the actors, prevents the play from dragging. The stage production also plays a part in this: the production set is visually stunning, with clever and powerful prop-work - a symbolic image of a huge coin hanging at the very front of the stage, the somewhat dour profile of Queen Victoria hiding the scene changes behind it. There was one surprising blip involving a slight collision with the stage mantelpiece and a chair but this was resolved quickly enough and soon forgotten. The music, meanwhile, accompanies the start of each act and the changes of props, is suitably elegant and emotive – just like the production itself.
A definite must-see if you can get hold of a ticket.