Theatre Royal, Glasgow
3 stars
There is little, if anything, of serious consequence in Walter Brandon Thomas’ 1892 cross-dressing farce. In truth, this boys own pursuit of girls and money, set, suitably enough in Oxford’s hallowed halls, is so disposably throwaway that, if it were left to rot in the corner of the room, its unlikely the mess would be noticed for some considerable time. Yet, for all its slightness, Thomas clearly had a gift for vaudevillian knockabout, was in full possession of some sound plotting sense and understood the eternal appeal of a catchphrase. His facility with names alone is worth the admission price. As a star vehicle, too, Charley’s Aunt comes gift-wrapped in impeccable apparel.
So it is with this commercial touring production for Bath’s Theatre Royal by the ever busy Mel Smith. Having himself once stepped into the big frock of Donna Lucia Dalvadorez by way of Lord Fancourt Babberly (or Fanny Babs as his chums know him), he knows well what’s what in something that’s essentially an extended music hall routine dressed up as posh tosh. So too does Stephen Tompkinson, also on a roll and no slouch in the comedy department, who plays the dual role here with considerable aplomb.
As fancily fruity as it is, however, this three-act affair would have surely benefited from only having one interval. As pleasant-valley bright as Christopher Woods’ sets are, the changes break the momentum of the piece, so for the first ten minutes of each act you’re merely playing catch-up. Nevertheless, for something that’s essentially a wafer-thin anachronism, Smith’s company give an appropriately pukka display, breathing new life into heritage theatre.
The Herald, February 14th 2007
ends
3 stars
There is little, if anything, of serious consequence in Walter Brandon Thomas’ 1892 cross-dressing farce. In truth, this boys own pursuit of girls and money, set, suitably enough in Oxford’s hallowed halls, is so disposably throwaway that, if it were left to rot in the corner of the room, its unlikely the mess would be noticed for some considerable time. Yet, for all its slightness, Thomas clearly had a gift for vaudevillian knockabout, was in full possession of some sound plotting sense and understood the eternal appeal of a catchphrase. His facility with names alone is worth the admission price. As a star vehicle, too, Charley’s Aunt comes gift-wrapped in impeccable apparel.
So it is with this commercial touring production for Bath’s Theatre Royal by the ever busy Mel Smith. Having himself once stepped into the big frock of Donna Lucia Dalvadorez by way of Lord Fancourt Babberly (or Fanny Babs as his chums know him), he knows well what’s what in something that’s essentially an extended music hall routine dressed up as posh tosh. So too does Stephen Tompkinson, also on a roll and no slouch in the comedy department, who plays the dual role here with considerable aplomb.
As fancily fruity as it is, however, this three-act affair would have surely benefited from only having one interval. As pleasant-valley bright as Christopher Woods’ sets are, the changes break the momentum of the piece, so for the first ten minutes of each act you’re merely playing catch-up. Nevertheless, for something that’s essentially a wafer-thin anachronism, Smith’s company give an appropriately pukka display, breathing new life into heritage theatre.
The Herald, February 14th 2007
ends
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