THE LETTER: Maugham till 17 February [then touring].

Nottingham.

THE LETTER
by Somerset Maugham.

Theatre Royal To 17 February 2007 then tour.
Runs: 2hr 15m One interval.
Review: Alan Geary: 12 February.

See the review of this production at Richmond for tour information.

This pleasing production of a well-made play still speaks to us.
You know, even before the start, you’re in Maugham country – it’s his own adaptation of one of the stories. Obscuring the set is a big screen with a pre-war map of the East Indies archipelago. There’s a cry of ‘O my God!’ followed by a burst of gunfire. The screen is lifted. It seems that planter’s wife, Leslie Crosbie [Jenny Seagrove], has shot a man dead during a rape attempt.

Seagrove, despite her beauty, is too old for the part but effective nonetheless. From the start she has to play a woman caught up in histrionics, acting the role of damsel in distress.

Men, like Withers [well observed by Peter Sandys-Clarke], the callow ADO [Assistant District Officer?], are besotted by her. Her lawyer isn’t.

Anthony Andrews is hammily excellent as the sceptical Howard Joyce. Refusing to be smitten, he can see through her guiles. Some of his anachronistically stiff upper-lip lines like ‘Control yourself, I beseech you!’ get laughs but he’s impressive all the same.

So, especially after the break, is Andrew Charleson as Robert Crosbie, the thick-set and prosaic husband, who’s nicely contrasted with Joyce.

The detached and dispassionate tone of Maugham’s work is everywhere evident in this play. He portrays what’s now called racism but never accepts it.

Nineteen-twenties imperial attitudes - that the dead man was living with a native is a bigger mark against him than the supposed rape attempt - and assumptions of superiority are handled ironically; it’s clear from the servant scenes that the natives are more quick-witted than their masters, and ultimately in charge. Brightest of all is wily legal assistant, Ong Chi Seng beautifully played by Jason Chan. Jon David Yu, sweatily debauched as Chung Hi, entrepreneur and opium user, is superb.

A fine piece of set design makes his den open out from, and contrast sharply with, the European bungalow. Background music - Chinese and Malay - and costumes - panama hats, immaculate whites and light frocks - are perfect.

All right, this isn’t exactly theatre of the absurd. It’s set in a vanished era; and, since that era is still within living memory, it’s a period piece. But it’s a well-made play with engaging characters, and no swearing. This production demonstrates that it’s capable of pleasing large audiences.

Geoffrey Hammond: Chris McCalphy.
Leslie Crosbie: Jenny Seagrove.
Head Boy: Jamie Zubairi.
Hassan: Andrew Joshi.
John Withers: Peter Sandys-Clarke.
Robert Crosbie: Andrew Charleson.
Howard Joyce: Anthony Andrews.
Ong Chi Seng: Jason Chan.
Mrs Parker: Sioned Jones.
Chung Hi: Jon David Hu.
Chinese Woman: Liz Sutherland.
Dorothy Joyce: Karen Ascoe.

Director: Alan Strachan.
Designer: Paul Farnsworth.
Lighting: Jason Taylor.
Sound: Ian Horrocks-Taylor.
Composer: Catherine Jays.

2007-02-14 08:01:17