Peddling tittle-tattle as fact? Nothing new there then!

The School for Scandal at the Oxford Playhouse
from June Tuesday, June 4 to Saturday
Review by JON LEWIS

Gossip Girls and Guys

Richard Brinsley Sheridan’s 1777 comedy classic The School for Scandal has been given a makeover in Seán Aydon’s 1950s-set Tilted Wig production.

Aydon’s intention for the show, according to the programme, is to create an evening of ‘pure joy’ after some tough years for audiences and theatres. Sheridan’s lines fizz with wit and insight with a lightness and critique that are still funny today and there were constant chuckles throughout the performance.

The bee in Sheridan’s bonnet is the fashion for society gossip. He creates a group of gossip cultists led by the malicious Lady Sneerwell (Emily-Jane McNeill) who practice a form of Schadenfreude after hearing about amorous or financial misfortunes of the local rich and famous. They ridicule well-known aristocrats and peddle tittle-tattle as fact. A newly married young acolyte, Lady Teazle (Lydea Perkins), is the latest recruit to this ‘school for scandal’ although much of the play is seen from the point of view of her ageing, bad-tempered husband, Sir Peter (Joseph Marcell).

Sheridan’s targets have similarities with Moliere – ridiculing hypocrites and deceivers. The subplot concerns the two moustachioed Surface brothers, Joseph (Alex Phelps) and Charles (Garmon Rhys). Joseph fancies Sir Peter’s ward Maria (Ayesha Griffiths) who prefers his brother Charles. Lady Sneerwell helps Joseph with his amatory aims by disseminating stories that Lady Teazle is having an affair with Charles. Meanwhile, the brothers’ uncle and benefactor Sir Oliver (Tony Timberlake) returns after years in India. He is convinced by Sir Peter to meet both nephews in disguise to observe their true feelings for him.

The 50s costumes and ruched curtains for the set, and three telephones on tables as the only constant props, do not change the dynamics of the play much. Aydon directs the cast to speak with comic affectedness, all silly braying laughs and effete body language. It is irritating watching these self-obsessed, privileged aristocrats prance about in such mannered ways but then, these characters are meant to irritate. We are encouraged to disapprove of them.

The production received strong applause from many in the audience suggesting that Aydon’s aims for the show were achieved.