Oscar Wilde’s 1895 play of political intrigue, blackmail, and the lies we tell not only to others, but ourselves, is oftentimes treated as second tier among Wilde’s stage oeuvre, behind his satirical masterpieces, The Importance of Being Earnest, and A Woman of No Importance.
Nicholai La Barrie’s revival, a joint production between Bristol Old Vic and Lyric Hammersmith, is timely, showcasing that not much has changed in political class over the last 130 years. But La Barrie doesn’t labour that point, as some might be tempted to, instead ensuring Wilde’s caustic wit and deconstruction of the hypocrisies of high society remains centre stage.
The play opens at an elegant soiree to the pulsing rhythmic beats of early 2000s UK garage (the first anachronism of many to follow that are incongruous with high society in Victorian England). Hosting this gathering are Sir Robert Chiltern, a respected MP, played by Chiké Okonkwo, and his wife Lady Gertrude Chiltern.
Sir Robert is held up as a paragon of virtue and moral rectitude by his adoring wife, played gracefully by Tamara Lawrance. But she is yet to become disillusioned following revelations of the dirty deal hidden in his past which consequently granted him wealth and status.
The scandalous transgression is soon delivered to Lady Chiltern with venom by vindictive antagonist Mrs Cheveley, whose portrayal by Aurora Perrineau – slightly robotic and not particularly memorable – is perhaps the only real weakness in an otherwise triumphant production. A showcase of Wilde’s witty melodrama with jaunty aplomb comes courtesy of whimsical contributions by the creative team, near-perfect direction from La Barrie and a remaining cast who turn in sublime performances.
Sir Robert’s foppish best friend Lord Arthur Goring, played with a scintillating versatility by the incandescent Jamael Westman, is the play’s standout performance. And the dynamic between Westman and Tiwa Lade, who masterfully executes her role as the witty and flirtatious Miss Mabel Chiltern, is a blend of disarming charm and playful sauciness.
The vibrant costumes, courtesy of Rajha Shakiry, mingles traditional Afro-Caribbean aesthetics alongside Golden era Hollywood chic, while a flamboyant, New Agey apparel is reserved for Lord Goring. In contrast, the set design remains firmly in the Victorian era with ornate dining chairs and faux-marble staircase. However, it is the disparate qualities of the costume and set design, as well as random interjections of dance and RnB musical, which confuse the time period in which this production is supposedly set.
Inventive stage transitions between Acts are replete with hedonistic dance choreography and thumping dance music. Overall, the moments of artistic licence incorporated into the dialogue and characterisations are well-chosen, well-executed, and frequently side-splittingly funny.
For example, the Chiltern’s surprisingly sassy and irreverent butler, Mason, played wonderfully by Emmanuel Akwafo. Akwafo also plays Goring’s acerbic manservant, Phipps. Although this characterisation conjures hearty chortles from the audience, it is an unoriginal, rehash of tired queer stereotypes.
Predictably, it is Westman’s Lord Goring who repeatedly re-captures the audience’s attention every moment he strides across the stage with rebellious conviviality. And then, in Act II, while Sir Robert is roiling from his wife’s fierce rebuke, we see Westman deftly switch from the frivolous dandy to a sympathetic confidante and the voice of reason. Lord Goring’s mask of effete bon vivant momentarily slips to show that he is, in fact, a principled and cerebral fellow providing astute and considered advice. It’s a brilliant performance.
Not to be outdone, Okonkwo, playing Sir Robert, undertakes some of the best physical comedy you will see from an actor using only a red-leather upholstered swivel-chair as his prop, at one point hugging it like an anxious baby rhesus monkey clawing onto its mother. It’s a strikingly skilful juxtaposition to the gravitas and authority Okonkwo lends to his character in earlier scenes which would be appropriate to Lord Chiltern’s status.
Later in the scene, the hilarious repartee between Goring and his cantankerous father the Earl of Caversham returns to the fore and is as farcical as it is captivating. Rolling guffaws are elicited from the audience, throughout, as Goring deflects the admonitions of his stuffy father, played so adroitly by Jeff Alexander, with sardonic ripostes and dandified mannerisms.
La Barrie allows the comedy to burst on stage while taking calculated risks in his direction which largely pay off and produce a refreshing and entertaining revival of Wilde’s lesser-loved stage piece.
An Ideal Husband runs until Saturday 20th June at the Bristol Old Vic with performances beginning at 19:30, plus Thursday and Saturday matinees at 14:30.
Dan Adshead
