New Theater Production " The School For Scandal "

[Guest rohale]

There's no fool like an old fool, and nobody does old fools as amusingly as Brian Bedford. The British actor-director first dazzled the world in 2002 when he played two contrasting but equally enjoyable nincompoops in a pair of Moliere comedies on stage in Los Angeles. It was such a memorable turn, that Taper Artistic director Gordon Davidson, who is stepping down next year, had decided to treat his audiences another dose of Bedford as part of his final season swan song. I felt it was long overdue on my part to watch a man of Mr Bedford's caliber on stage, one more time.

 

This past Sunday night, I was in Los Angeles with three friends at the Mark Taper Forum to see Bedford try his skill at Richard Brinsley Sheridan's " The School For Scandal ", one of classical theater's most enduring comedies. It's hard to imagine a better match of director to material. Bedford has a bent for the fine caliberations and sensibilities of period comedies. This gentleman was born to play Sir Peter Teazle, a grumpy man trapped in one of comedy's most time-honored conventions: marriage to a much younger woman.

 

The School Of Rock is filled with the kind of comedy chesnuts that were already hundreds of years old by Sheridan's time: hammy disguises, eavesdropping, double entendres, saucy maids, most importantly two or three tons of frustrated sexual energy

 

Now, I move on to the performances. Bedford is a terrific Teazle. His face seems stamped with a permanent two-steps behind expressionism, and his body language-from the way he holds his hat to tthe deadpan look he throws before launching into a grumbled aside. he paints the perfect portrait of a man who's constantly annoyed by his wealth and position don't bring him more respect.

 

Lady Teazle is a giddily energetic red head who isn't letting her marriage to Sir Peter impede her " Girls Wanna Have Fun " mandate. Kate Fry bring this wonderful character to life. She makes Lady Teazle seem contrite, but not overwhemingly so. The impression left is that nothing about the marriage will change. The ringer she puts Sir Peter through is an absolute delight, a tour de force performance.

 

There are several standout minor roles, Scott Parkinson has tremendous fun with two contrasting characters, Snake and Sir Benjamin Backbite. He former is an errand boy, the latter sia bad mouthed poetry spouting fop. I think this character would fit quite nicely in an Oscar Wilde comedy. (in a way like when the legendary John Neville used to play the great King Alfred). What else, musn't forget to mention Carolyn Seymour makes the most of Lady Sneerwell's delicious name. Her Sneerwell is sneery of face, voice and soul.

 

The set designs were wonderfully done, stylized architecture that provided each scene a sense of finely tuned artifice. The perfect mood, I think, for Sheridan's frothy masterpiece of bad manners. The costume designs were done on a mad operatic scale. The flamboyant creations, with their jewel colors, slyly imply volumes to each performer. Musn't forget to mention the often-outlandish wigs.

 

I really loved this production and I absolutely adore Mr Brian Bedford. He's a sensational performer and to watch him this past Sunday reminded of why I've been a fan of his for so many years. I remember watching him at the Yorkshire Playhouse in Northern England with his take on Wind In The Willows. It's been ages since I've thought about it. I even remember being a teenager and watching him in a pantomime in Kingston Upon Thames with Bonnie Langford. She wasn't terribly good, but he carried the show.

 

I hope Davidson's successor will find opportunities to bring Bedford back. Like so many other things that the Taper's founding director has presented on his stage since 1967. Bedford's brand of perfectly constructed period comedy is well worth turning into a legacy.

 

Most of English humour is somewhat hard to follow for a lot of people. If you ever have the chance to see this particular classic theater, please do so, this production has three things going for it. The cast is simply wonderful, they seem to compliment eachother very well. Secondly, the spiels of dialoge allocated to each character was amazingly done. I was quite impressed with the scope of the language. Lastly, it's a funny look at the aristrocacy of Great Britain hundreds of years ago. This production was well worth the price of admission.

 

Rohale

[jack]

rohale, a most learned and erudite critique to favor these halls. Brilliant. You brought back wonderful memories of old friends and places in British literature. :-)