The School for Scandal

Director David Burrowes has brought Sheridan’s play slap bang into the 21^st century in everything apart from the beautiful language and the satirical characters. The set is sparse, minimalist; the costumes vivid, suggestive; the lighting bright; the sound loud, pumping and the direction stylised, contemporary. All very different from what one expects of a play written by a 26 year old in 1777!

Burrowes and designer Isabella Andronos have collaborated to take Sheridan’s characters from the wealthy upper class of the 18^th century to the wealthy social fun-seekers of today. And apart from some over-direction that spoils the tempo of the action and rhythm of the language, it works. Sheridan’s messages are not lost, in fact looked at through a contemporary glass, they are made a little bit more biting

The cast is well-chosen – and carefully directed as to the correct, crisp enunciation of lines and the necessary fast pace needed to make 18^th century language and satire work in a contemporary setting. There is a nice contrast in the brash elegance of the young characters and the staid elegance of the older men. Where the direction fails a little is in allowing some of the characters to become a little too stereotypical by accentuating and laboring their mannerisms and eccentricities. This is what affected the tempo, detracting from the rapid, biting dialogue and reducing some moments (and some characters) to ridiculous rather than satirical.

Nevertheless, on the straight lines of Andronos’ bright, white, set, the play moves quickly and smoothly. Scenes changes are swift, with minimalist props and colourful, carefully co-ordinated costumes making sharp statements about place and time. The opening scene typifies this. Gold curtains open and through double doors thrown open at the back Eleanor Stankiewicz as Lady Sneerwell enters. Servants bring her a tray with a line of cocaine and a cocktail, both of which she takes elegantly. This, and two racks of dresses, bright red and bright green are all that is necessary to set Burrowes’ vision pretty squarely. 

It is hard to single out specific cast members as there is good ensemble work in this production. Madeleine Withington, however, as Lady Teazle is outstanding. She moves gracefully and articulates the shallowness of character with controlled, elegant ease.

In contrast to the bare-legged, vibrant costumes and suggestive actions with which he directs of the younger cast members, Burrowes has used more sedate direction and costumes for the ‘older’ generation. And this has worked exceptionally well for actors Marty O’Neill, Peter Flett and Richard Cotter. Dressed just as elegantly, but more soberly, these three (dare I say) ‘veterans’ of the Sydney theatre scene relish Sheridan’s beautifully worded dialogue and Burrowes’ interesting blocking. Their dark suits on the white set, their measured dialogue and their restraint, are a clever contrast the bitchy brassiness of the younger ‘in’ crowd.

This is a production that will appeal. It has pace and brightness and makes Sheridan’s social comment relevant to modern society. Moreover, it is another example of how community theatre supports innovation and creative people.

Carol Wimmer

Photographer: Bob Seary