Hurst conquers stage again

She Stoops To Conquer by Oliver Goldsmith
Auckland Theatre Company
Maidment Theatre
Until May 23rd

Making fun of the upper classes has been a theme for playwrights through the ages. They are a species ripe for wits to have a go at as they combine all the faults of the lower classes along with peerless arrogance.

Oliver Goldsmith's She Stoops To Conquer is not the first or the best of these plays but it is stylish and contemporary, with themes of class and snobbery delightfully played out with a cast of clever characters and some great lines.

As well as a play about the division between the upper and lower classes it is also about the contrasts between age and youth and town and country. Each one of these groups holds that they are innately superior to the other and so provide ideal fodder for a comedy of error.

The story concerns a couple of arranged marriages. Mr Hardcastle’s second wife is determined that her wayward son, Tony Lumpkin, should marry her niece, Constance Neville partly so she can keep Miss Neville's valuable jewels. Miss Neville who is being courted by Hastings connives with Tony to get her beau and the jewels.

Mr. Hardcastle wishes to marry his daughter Kate to the son of his friend, Sir Charles Marlow but the young man has difficulty talking with of ladies of his own class but is a much more forward with those of the lower orders.

The two young men who get lost on the way to the Hardcastle house and are guided by Tony Lumpkin, who convinces them that it is actually another inn where they can stay.

Neither Marlow nor Mr. Hardcastle realise that both are victims of a hoa.x with Mr. Hardcastle being appalled at the outrageous behavior of his friend's son, while Marlow believes Hardcastle a very impudent innkeeper. Hastings and Constance soon realise the trick which has been played on them but go along with the pretence to embarrass Marlow.

When introduced to Kate young Marlow bumbles his conversation and never looks at her so that later in the evening when he sees her going about the house in a plain dress he takes her for the bar maid. She encourages the deception in order to find out if he is really as witless as he seems and discovers him to be charming. When she reveals herself as a well born but poor relation of the Hardcastle family he acknowledges his love for her.

Further comic situations are created by Tony's attempts to help Constance and her lover elope with her jewels.

Much of the comedy depends on confusion between appearance and reality such as Marlow's misperception of Mr. Hardcastle's house as an inn.
There is also the way in which Marlow’s perception of Kate alters when she changes from a stylish outfit into ordinary clothes, but it is only through deception that Kate discovers the true nature opf Marlow.

Written in 1773 this production has been set in the 1960s, the young people attired as bodgies, widgies and teddy boys, Marlow and Hastings even ride onto the stage on a Vespa.

The production is another triumph for Michael Hurst who has trimmed the play and given it contemporary relevance. Where in the original Mr.Hardcastle makes reference to the Duke of Marlborough's campaigns he is changed in this version to General Montgomery.

Hurst has given the actors a challenge as well. They speak in a manner which is something like an 18th century style but this is then layered with some mid twentieth century intonations. At times it is in danger of falling apart but the actors are all up to it and create a splendid farce.

Kate who stoops to conquer her gentleman is cleverly played by Antonia Prebble who manages the transitions between the upper class Kate and the bar maid Kate with ease.

Arthur Meek as the young Marlow who also has to provide two versions of himself is not quite up to the task with his meeker dimension being overplayed and not totally convincing.

Paul Ellis as Hastings gives a solid and convincing performance providing a well grounded character which contracts with the conflicted Marlow.

Esther Stephens as Constance Neville does not have as animated a role to play as Antonia Prebble but she conveys a multi layered character with subtle and well honed acting.

Cameron Rhodes is impressive as the no no-nonsense Mr. Hardcastle and Ellie Smith as the shrill and scheming Mrs. Hardcastle provides non-stop visual gags.

The prankster, Tony Lumpkin is credibly played by Michael Whalley, the one character who instigated and resolves many of the plays sub plots. He brings a fine comic timing and expression to the role.

Paul Barrett does sterling work in three of the minor roles, creating a brilliant, dithering butler in his portrayal of Diggory.

Most of the actors are required to make asides or even small speeches to the audiences as was common in such plays. In Michael Hurst’s hands the technique however seems very contemporary.

The set designed by John Verryt, a combination lounge and overgrown garden serves well for all the scenes although the occasional classical figure (played by actors) who stand silently throughout each act (possibly emblematic allusions to love, plenty and honour?) are never full explained.

Rounding out the performance is a soundscape using 60’s songs such as Kiss Me Honey Honey Kiss me as well as tracks by Cliff Richards and the Shadows.