Coventry Evening
Telegraph, 27th February 1975, David Isaacs
This is the most satisfying evening I’ve spent in this
theatre in two years.
It’s a happy coincidence – but no more – that a
new-style first night should feature a production by its former director, Peter
Dews.
This clear, comic production of one of Shaw’s
lighter pieces has the advantage of some first-rate acting, a fine setting by
Finlay James, which is admirably and quickly adapted after the first act, and a
genuine and simple understanding of the play’s objectives.
It’s the story of the ‘chocolate cream soldier’ –
the professional who rejects society’s stances and sophistications to a level
which amounts to a more genuine sophistication – a man who uses the excesses of
others to demonstrate that simplicity has more virtues than is generally
recognised.
Shaw uses the device of a military situation. The
play is set in the late 19th century and the hero, Captain
Bluntschli, is a man who sees through himself as well as those with whom he
comes into contact.
He’s sheltered, as a refugee, by a girl and her mother,
each of whom he later meets in circumstances which are starkly different from
their first encounter.
Michael Pennington – an admirable actor – plays
Bluntschli with a good humour, an inventiveness and understanding which stamp
him once again as one of the most promising of our young actors.
Some of his recent work with the Royal Shakespeare
Company was first class. Here again, he is given the opportunity to extend his
range. He does so with a combination of flair and technique which is
compelling.
Bernard Lloyd – another member of the RSC, who has
distinguished himself at Stratford in middle-lead roles – knocks off his
pompous, brave officer with a committed upper-middle-class air of mistaken
certainty, which wins its fair share of audience appreciation.
The young Jane Wymark, as the heroine, seems to be
taking her stiff superiority so far that it is difficult to believe she will
ever manage to leave the pedestal with credibility. In fact, she does so in a
way which is not only credible but also marks her as an actress of real
potential.
Petronella Ford – who seems to me still to be
ridiculously underestimated – knows her place within the terms of the play but
still manages to achieve a great deal as the servant, Louka.
Patsy Byrne – yet another ex-RSC member – is at her
best for some time in the role of the mother, blustering about with impeccable
timing and winning Immediate and well-merited reward from her audience.
Norman Ettinger makes a handsome contribution as
the head of the household to round off a standard of acting we haven’t seen at
the Birmingham Rep for some time.
I mentioned the new-style first night. It includes
a free programme, a draw in the interval for a bottle of champagne, a gift
token offering a reduced-price seat for the next first night and a late bar.
All of which is very pleasant – but it would have
meant nothing without this concise, clear and committed production.
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