‘London Assurance’ directed by Charlotte Moore at The Irish Repertory Theatre, a Rollicking Christmas Treat
London Assurance, the vibrant farce by Dion Boucicault, directed by Charlotte Moore at the Irish Rep is the perfect production for the Christmas season to keep the cheer bright. The acting is superb, the pacing of high jinx is acutely shepherded by Moore. Altogether, there is everything to like and enjoy and nothing to find fault with in this production which runs until 26 January.
A mix between a drawing room comedy and slapstick without the physicality but oodles of wordplay, Boucicault’s London Assurance also satirizes stock character types, social classes and the notions of marriage for convenience which were beginning to be blown away by the idea of love matches, at the time the play takes place Christmastime, 1841.
The action begins when dissolute Charles Courtly (Ian Holcomb) arrives with his friend Dazzle (Craig Wesley Divino) in the morning hours after a night of hard drinking and partying. Charles lives with his father Sir Harcourt Courtly (Colin McPhillamy is perfection as the fop who is easily duped by his own puffery). Courtly believes his son to be the innocent, demure, hard-working student who eschews gambling and drinking. Charles is the antithesis. Servant Cool (Elliot Joseph) lies to protect Charles.
After Dazzle and Cool carry Charles off in a drunken stupor, Sir Courtly enters in his dressing gown wishing for his breakfast. Courtly reminds Cool of the recent most important events of his life. He and his friend Max Harkaway (the fine Brian Keane) have arranged for the elderly Courtly’s marriage to Max’s young, beautiful niece Grace (Caroline Strang) in exchange for an obviation of debts, and her dowry. If Courtly or Grace nullifies the arrangement, Grace’s money will be Charles’ inheritance.
The arc of development involves the foiling of Courtly’s plans when all visit Max’ country estate in Gloucestershire where Courtly is supposed to finalize his engagement to Grace. Max has invited Dazzle and of course Dazzle brings along Charles for the adventure and fun the visit promises to be, though Sir Courtly doesn’t realize that Charles has joined the party. At Max’ estate, Grace meets a disguised Charles who poses as Augustus Hamilton to dupe his father who believes him to be home studying. Both Holcomb and McPhillamy pull off the bad disguise non-recognition and Sir Courtly’s dubious response to his son’s “lookalike” with great humor.
Charles, ever the playboy, flirts with Grace unaware that she is his future mother. For her part Grace is sanguine about marrying Sir Courtly, but falls in a hot love with Charles. What are they to do? How can they put off Sir Courtly and Uncle Max Harkaway and effect their marriage to each other? By this point in the plot the playwright has drawn us in for Sir Courtly is no particular catch and to American audiences today, the idea of a woman having to drop her dowry in the lap of an elderly gentleman in order to survive is almost unthinkable, especially when the marriage has been arranged for her.
In the succeeding scenes we meet the lovely friends of Max, Lady Gay Spanker (the wonderfully comedic Rachel Pickup) and her ancient-looking husband Adolphus Spanker (Robert Zukerman draws many laughs with his outrage about his wife leaving him) who is vital, spry and a force of nature that Lady Gay Spanker loves as her protector. However, when Charles beseeches Lady Gay for her help to dissuade his father from sealing “the deal” with Max for Grace, Lady Gay thinks of a humorous idea to break up plans of Sir Courtly’s marriage.
In great good fun she seduces the pompous Sir Courtly to fall in love with her behind her husband’s and Grace’s back. Sir Courtly who believes himself to be twenty years younger and on the cutting edge of fashion, is tricked by Lady Gay. He rushes after her to win her kisses and affection. Of course, when Spanker hears that his wife may separate from him, his reaction is hysterical. Meanwhile, Lady Gay is having the time of her life in harmless fun to help out two young lovers who doubt each other’s love. The complications rise and Lady Gay works her miracle for a good cause, until…
This is no spoiler alert. You will just have to see this humorous LOL production to appreciate how the playwright adds complex and humorous twists to the relationships and magnifies mishaps and errors raising the stakes and jokes to a delightful climax with a duel.
Charlotte Moore’s sense of comedic timing, what does and doesn’t work has been engineered to a fine froth so that the actors appear to be these authentic, vivacious, funny individuals. I cannot imagine Colin McPhillamy, Ian Holcomb, Rachel Pickup, Robert Zukerman, Caroline Strang, Evan Zes (the funny conniving lawyer) Brian Keane, Craig Wesley Divino, Elliot Joseph and Meg Hennessy sounding and behaving any differently in real life than they do onstage. Their performances are stunning. Their timing is spot-on.
Interestingly, the cast has managed to portray their characters so that they are not “the types” they appear to be, but are funny because their traits are humorous. Evan Zes as the “sneaky, obtrusive” lawyer Mark Meddle dismissed by Meg Hennessy’s “go-to-girl” Pert, with the accusation of “slander” is an example. In the hands of these actors this is accomplished with seamless effort. Additionally, the actors handle the asides to the audience with an easy, intimate confessional tone that enhances the comedy. Finally, we enjoy the foibles of each character whom the actors have invested in with their perceptive, canny skills.
The sets sparkle with beauty and apparent luxury thanks to James Noone’s scenic design. The interiors are befitting of what one would expect of Sir Courtly’s and Max’s residences. Likewise, Sara Jean Tosetti’s costume design and Robert-Charles Vallance’s hair designs authenticate the period and social status of the characters with excellence. Lady Gay’s purples (I loved her costumes that reflected her expansive, lively character) matched with a lighter shade of purple for her husband’s cravat (?). As a couple they reflected a refined, spiffy, fascinating dynamic. Indeed the creative team’s techniques and strategies inspired by Charlotte Moore’s vision for the production were not overblown, but were “a Goldilocks.” Rounding out the team are Michael Gottlieb’s lighting desgin and M. Florian Staab’s sound design. The music was lighthearted and chosen for the splendid mood of the production.
Once again Irish Repertory Theatre proves its stalwart magnificence for the season with this marvelous comedy that Charlotte Moore, the ensemble and creative team have imbued with their joie de vivre and experience. If you don’t see it, you will have missed a special production. London Assurance runs with one intermission until 26 January. For tickets and times CLICK HERE.