Writer: P.G. Wodehouse
Adaptors: Robert Goodale and David Goodale
Director: Marieke Audsley
If there is any justice in the world the willingness of a gallant usher to request the local mayor stop reading his e-mails and turn off his mobile phone during tonight’s performance will ensure Octagon Theatre, Bolton, wins Theatre of the Year.
Upper-class twit Bertie Wooster (Luke Barton) has a tale to tell full of narrow escapes and outrageous escapades. However, Bertie’s limitations as a narrator are apparent until his butler Jeeves (Patrick Warner) steps in to demonstrate how the story can be enacted as a play with assistance from colleague Seppings (Alistair Cope) and some remarkable props.
Bertie recounts how, on an errand for his formidable Aunt Dahlia, he encounters a magistrate who he once offended, secures a new enemy, and finds himself in the dreadful position of being second choice as husband in the increasingly likely failure of his friend’s engagement. He can only pick his way out of the bewildering range of misfortunes with the guidance of the unflappable Jeeves.
Jeeves & Wooster in Perfect Nonsense is a classy production. Olivia du Monceau’s set is an elegant wooden construction with an art deco theme that is reflected also in the ornate bumper on the front of Bertie’s car and his pyjamas. The set is staggeringly adaptable, close to being a lair of a James Bond villain with beds, bathtubs and the like emerging from the central construction.
The set represents the magician-like ability of Jeeves to solve any problem no matter how difficult. ‘’They’ve had their money’s worth tonight!’’ exclaims Bertie in delight as a fireplace complete with flickering flames appears. There are even ‘’how did they do that?’’ moments with Bertie apparently stepping nude from his bath but wearing a dressing gown after dropping the towel.
Luke Barton, as the only actor playing a single role, draws out the guileless innocence of Bertie Wooster. There is a childlike glee to the way Barton reacts to events unfolding around him and to the cunning plans put forward by Jeeves. In the light of Partygate revealing the shameless antics of the elite Bertie Wooster ought to be beneath contempt, but Barton makes him oddly appealing.
The humour in the play comes less from the plot and more from the audience appreciating the central joke in how it is staged- the remainder of the characters are played by just two actors. The joke is so very funny because it is in plain sight- Alistair Cope’s Aunt Dahlia has a full beard and, even funnier, wears men’s shoes and socks. The farcical element of panic arises not in the traditional manner of plans going awry or unexpected events happening but from an actor realising he must change character within seconds.
The concept could become self-indulgent. The running gag about the villain being unusually tall begins charmingly, with Cope desperately finding objects upon which to stand, but starts to wear thin as he enters standing on ladders and is unable to exit without a push.
In the main director Marieke Audsley keeps the minimum number of actors concept anchored in reality. Patrick Warner improvises a transformation into a female character using just net curtains and a lampshade. Warner steals the show in the second act in a half male/half female costume to conduct a conversation between two characters.
Jeeves & Wooster in Perfect Nonsense is a classic and very funny farce complete with a breathless pace and characters rushing off and on stage in confusion. Yet the original manner in which it is staged becomes a tribute to, and practical demonstration of, what can be achieved in theatre.
Oh, but watch out for the flying crumpets.
Runs until 21 October 2023
The Reviews Hub Score
Tribute to theatre and storytelling
