FOUR STARS

 

Molière’s cleverly observed comedy of manners has been given a sparkling, playful makeover by poet Roger McGough in this witty and engaging new production by English Touring Theatre. The play mercilessly pokes fun at the affectations and hypocrisies of the aristocracy in 17th-century France, so beneath the surface comedy there simmers a real sense of unease at the flaws and frailties that lead people to treat their fellow human beings with callousness and indifference. This may be laugh-out-loud comedy, but it is also a tale of deceit, betrayal and disappointment.

The central character, Alceste, is a somewhat enigmatic hero. Passionate and well-meaning, he nevertheless alienates himself from others by refusing to conform to the social conventions of polite society. He is in love with the flirtatious widow Célimène despite being appalled by her behaviour, and when he insults aspiring poet Oronte with his brutally honest criticism, it is the catalyst for his own downfall.

Among a strong cast, Colin Tierney effortlessly dominates as Alceste, drawing out the contradictory nature of his character with energy and conviction; at times dignified, at times sneering and at times raging with self-righteousness as he takes what he considers to be the moral high ground. His Basil Fawlty-style histrionics in Act 2 are particularly memorable.

As Célimène, Zara Tempest-Walters maintains a sense of cool serenity while admirers around her are falling over each other in a desperate bid for her attention, and Daniel Goode is delightfully foppish and larger-than-life as Oronte. The real star of this show, though, is the script itself. McGough’s hilarious new version is so full of witty one-liners that you can’t let your attention wander for a moment or you might miss a real gem. Alceste’s isolation is emphasised by the fact that he alone speaks in prose; all the other characters speak in rhyming couplets.

At times the humour borders on the risqué, and some of the rhyming couplets are so corny you don’t know whether to laugh or groan. But there are some clever examples of word play too — I particularly enjoyed Célimène’s “Messieurs, messieurs, what a mess you’re making…”

Michael Taylor’s sumptuous set and costumes create an authentic period feel, while Charlotte Broom’s stylised choreography results in some wonderful ensemble playing.

Hilarious, outrageous and intriguing, this production will keep you enthralled from start to finish.

Until Saturday

01865 305305 (oxfordplayhouse.com)