From the moment you enter the auditorium, the first thing you notice is that everything is pink! The colour overwhelmed the senses. From the tiles on the stage floor to the furniture and everything in between, pink dominated every corner. My mind wandered, questioning whether this pervasive hue was merely a superficial veneer, masking a deeper truth, or if indeed everything here was luxuriously and unabashedly pink.
This play delves into the layers of truth in our lives: the truths we believe ourselves, the truths we allow others to believe, and the fabricated truths we project for others to see. The School for Scandal, a 250-year-old play by Richard Sheridan, showcases characters who initially appear one way but, as the plot unfolds, reveal their true selves – for better or worse.
While dramaturg Jude Christian edited both the prologue and epilogue to draw parallels to the modern world of scandalous stories involving politicians, celebrities, and everyday life circulating on social media, director Tinuke Craig chose to root the play in a modern twist of the 18th century.
The costumes were bombastic, grandiose, and strikingly pink! Designer Alex Lowde crafted a series of flamboyant wigs, gaudy dresses, and haughty frock coats that perfectly matched the ostentatious world the characters inhabited. Alongside these vivid creations, Alex designed exact replicas in black, worn by characters on the receiving end of harsh and bitter comments, highlighting the contrast between the garish facade and the darker undertones of the narrative.
The ensemble's performance is superb, a hallmark of the Royal Shakespeare Company. However, there were some standout performances as well. Geoffrey Streatfeild, playing Sir Peter Teazle, brings a steadying presence to the production. Emily Houghton, as Mrs. Candour, shines with her comedic portrayal of a shallow gossip who always has something to say about everyone else. But for me, it was John Leader, playing Charles Surface, who stole the show with a committed and captivating performance.
However, I do have one major criticism, not of the production but of the play itself. This is an old play and suffers in a modern audience with being too long (2 hours and 50 minutes), but not exploring the theme properly in that time, with being full of running jokes but never being truly laugh out loud funny and with being about something that is contemporary but never actually making that point properly.
While this production boasts great performances, fabulous design work, and excellent music, these elements do gloss over the cracks of a play that lacks substance compared to how a modern playwright might tackle these issues. That said, it remains a fun-filled summer romp of a performance that leaves you feeling pink-tastic!