Gossip, deception and farce: The School for Scandal at the Maddermarket Theatre

Sheridan’s play is ridiculous. It squeezes every inch of supposed morality out of its most likeable characters in an utterly comical and fairly frustrating turn of events. It circles round eighteenth century society gossip and deception, leaving no character untouched in its path. The Norwich Players relished in this farce, as well-crafted character comedy and carefully considered modern-day touches brought Sheridan’s text to life for a new age.

Instead of leaving this high-society world of rumours and scandal at arms length in the eighteenth century, Director Christine Lloyd has chosen to turn the mirror onto our own sensibilities, with a frequent yet tasteful inclusion of mobile phones. One is catapulted instead into the vicious sphere of social media, where reputations are destroyed in one simple click of a button. The gaggle of gossipmongers, vibrantly led by Sir Benjamin Backbite (Andrew Ramsbottom), Mistress Candour (Gill Tichborne) and Mr Crabtree (Richard Graham), bring vivacious energy and comedy to the stage, and their spirited caricatures are a welcome addition to the more high-stakes action elsewhere in the play. Expertly designed costumes only serve to support the self-conscious ridiculousness of Sheridan’s farce, as the gossip spreading clan are dressed in wonderfully colourful and extravagant garb, adorned with flowers, feathers and the rest, topped off with a pink, sparkly iPhone case.

However, this production ultimately shines in the expertly crafted relationship between Sir Peter (James Willimott) and his young, country-born wife Lady Teazle (Katie Cary). Sir Peter’s complaints about married life are comic and relatable, and Willimott wonderfully balances Sir Peter’s frustration with a genuine love for his wife that resonates with a modern audience, in a text that could otherwise be interpreted and played as a patriarchal urge to control a woman. Lady Teazle is utterly infuriating yet still endearing; Cary uses brilliant physical comedy and considered mannerisms to portray an imitation of high-society by a country girl. Yet she also invites the audience to sympathise with her plight, through subtle winks and nods, rendering Lady Teazle a nuanced character that represents the class snobbery and sexual politics that still prevail today.

Another gem in this vibrant cast was Sir Oliver Surface (Kevin Oelrichs) whose subplot demonstrates that gossip, deception and scandal are not limited to the female sphere. Oelrichs equally invites an audience to sympathise with his plight as his absurd plot requires him to embody two different characters, and his consistent fourth wall breaks were hilarious – a welcome narration to the otherwise confusing plot. Furthermore, the character of Maria risks falling into the unfortunate trap of simply being a pawn in a larger game, however Libby Corrie brought more firmness to her character, and she becomes an important foil to the gossipmongering crew in her innocence and unyielding conscience.

Christine Lloyd’s The School for Scandal is as entertaining as it is ridiculous, stuffed to the brim with vibrant and comic characters. Yet, it also turns an important mirror onto our own gossiping sensibilities in a careful inclusion of modern-day elements that render the play relatable and interesting. The play talks to the very human act of engaging in rumours and scandal; it is truly a scramble to feel a sense of belonging, a mad race for a piece of news or a slither of gossip that proves one’s virtue above others. Our sympathies are confused, our assumptions are challenged, and we are entertained by something altogether just as relevant as it was in 1777.

The School for Scandal is playing at the Maddermarket Theatre, Norwich, from 11-15 November. Grab your tickets here.