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Brideshead Revisited
Malvern Theatres
**** EVELYN Waugh classic novel has never
previously been interpreted for the stage, so we were privileged to see
this world premiere production in Malvern. Bryony Lavery’s adaptation was produced by Damian
Cruden and was immediately striking for its design features. It established the period drama through the use
of excellent costumes and a few minimalist items of furniture or
properties but made no attempt to create box sets and such elements to
depict the lavish scenes of this novel, including the imposing country
mansion. The use of flat black screens that moved to
create various shapes and openings, coupled with sensitive and varied
lighting and sound effects, was highly successful in creating variety
and establishing changes of time and setting. The plot centres on the character of Charles
Ryder who during the Second World War is an army officer. He allows his
mind to drift back over the years to his earliest links with Lord
Sebastian Flyte at university in Oxford, which led to his involvement
with the rich aristocrat family who owned Brideshead Castle in
Wiltshire. Charles begins the drama as a convinced atheist
who finds the Roman Catholic convictions of Sebastian’s family,
the Marchmains, rather outdated and irritating. The Marchmains family
are ‘severely flawed’: Lord Marchmain became a Catholic to marry his
wife but is an adulterer who separates from her. Sebastian has a lifelong struggle with alcohol
and drifts off to Morocco and eventually Tunisia. Julia marries and then separates from a Canadian
businessman before ‘living in sin’ with Charles Ryder whose own marriage
has failed. Though Lady Marchmain and the youngest daughter,
significantly named Cordelia, remain faithful and practising Catholics,
the family is generally quite dysfunctional! This introduced one of the main themes of the
novel: grace. Lord Marchmain has a deathbed conversion or renewal of
his faith and this has an effect on Charles whose atheism is ultimately
dissolved as he makes some kind of act of faith at the close of the
story.
Managing this complex and extended story in a
two-hour stage presentation is a challenge which this production
successfully embraces with pace and energy, enriched by colourful and
bold characterisations. Charles Ryder himself is a relatively straight
character and is played with genuine conviction by Brian Ferguson. The
final scene is a delicate one to play but he carries it off sensitively
and manages to provide a genuinely moving scene. Around the central characters of Lord Marchmain
(Paul Shelley), Julie Flyte (Rosie Hilal), Sebastian Flyte (Christopher
Simpson), the youthful Cordelia Flyte, played with refreshing
youthfulness by Kiran Sonia Sawar, and Lady Marchmain (Caroline Harker),
we have some varied and strong characterisations played by Nick Blakely
(Anthony Blanche, Father Mackay and Samgrass), Shuna Snow (Bridey Flyte,
Kurt and Rex Mottram) in particular. This is a strong team who work together very
smoothly and maintain essential pace to ensure that a fairly lengthy
play does not drag. This is an excellent show that undertakes a
considerable challenge and succeeds in no small measure because of the
powerful visual impact of the design. The lighting is subtle and
compliments the largely bare stage and sliding screens to provide
variety and a strong visual impact. This in turn is supported by an excellent musical
score that provides a varied and sensitive atmosphere in all scenes
without being obtrusive. The scene on the deck of the ship in the Atlantic
in stormy seas was very effectively choreographed and designed and
epitomised the simplicity, clarity and boldness of the effects. The first half was a trifle ‘bitty’ in seeking to
introduce a wide range of elements; the second half was particularly
poignant. This is a sophisticated and powerful show that deserves to
have good houses despite its somewhat selective appeal. To 04-06-16 Tim Crow 31-05-16
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