4 STARS, May 14-18. Darkly witty and frequently surprising, this revival of Peter Barnes’ debut Sixties play has much to entertain, discovers Amanda Hodges
Peter Barnes’ satirical comedy from 1968 is a bold venture for anyone to tackle so Teddington Theatre Club should certainly be applauded for their theatrical ambition. Barnes’ black comedy does have some creaky moments for sure but what is surprising is just how pertinent much of it remains today, particularly its incisive attack on the inherent stuffiness of the English class system. Its critique of complacency and entitlement amidst the aristocratic classes retains relevance and although crazily zany with a capital Z, it’s often genuinely amusing too.
Most of the play revolves around the character of Jack, the 14th Earl of Gurney, diagnosed as a paranoid schizophrenic but, as the only surviving heir to his title the man who must take over his vacant ancestral seat nonetheless, his psychiatrist convinced he can be made sane. The only trouble is that Jack is convinced he is God, his miserable time at public school – “a primitive community of licensed bullies and pederasts” – having convinced him of this delusion. “How do you know you are God?” he is asked. “Simple,” he replies. “When I pray to Him, I find I am talking to myself.”
So much of the play’s biting humour revolves around the inherent stupidity of class and aristocratic privilege and its many absurdities. Jack’s sanity is frequently in question as, poised on a makeshift cross or alienating members of his family, he lurches between complete madness and intermittent bouts of lucidity but when he’s interrogated by the beautifully named ‘Master of Lunacy’ it’s his natural “arrogance and condescension” (plus knowledge of Eton songs!) rather than any real display of sanity that convinces the Master that Jack must be mentally competent, a biting indictment indeed.
Whilst the play isn’t always compelling as it can feel a bit muddled and verbose, to its credit it’s certainly never predictable either. The dark feel owes much to the Jacobean dramatists Barnes admired but it also intriguingly incorporates elements of farce, tragi-comedy and pure craziness too. A sterling ensemble fluidly directed by Barry Evans certainly give the play their all, each inhabiting their respective characters convincingly. Amongst a strong cast Daniel Wain is a riot as Tucker, the Marxist butler whose inheritance allows him to throw proverbial caution to the wind and Dane Hardie is excellent as the 14th Earl, playing a notably challenging part with real aplomb.
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