Review: CHARLEY’S AUNT, Watermill Theatre
Photo credit: Mark Senior
In the adapter’s note for Rob Madge’s brand-new adaptation of Charley’s Aunt, they write: “Brandon Thomas has written a masterpiece of a farce. Is that to say, then, that because one of its elements might be somewhat dated, by today’s standards - that this piece may never be revived?...If we are not constantly challenging ourselves to evolve, theatre is at serious risk of growing stale.” A fascinating discussion point for theatre lovers everywhere, and one of the fundamental principles on which Madge’s accomplished adaptation has drawn.
The basic plot of Thomas’ story remains the same, in order to declare their feelings to their lady love interests, fellow students Charley and Jack must acquire a suitable chaperone for the meeting, lest all of their reputations be tarnished! Luckily, Charley’s Aunt Donna is due to visit on the very day of the planned encounter, but when she gets held up on her travels, the two couples must come up with a suitable alternative. This involves dressing a Butler up as Charley’s Aunt, and allowing the ensuing chaos and hilarity to unfold!
Madge’s clever reworking of the script is performed by an incredibly talented cast. Benjamin Westerby plays a charming, slightly dim-witted Jack Chesney, opposite Jonathan Case who gives a delightfully hapless portrayal of the lovesick Charley Wykeham. Their female counterparts and love interests are played by Mae Munuo as the brilliantly feisty Amy Spettigue, and Yasemin Özdemir as Kitty Verdun, a cunning young woman desperate to escape the clutches of her uncle and live on her own terms.
Max Gill gives a fantastically comic performance as Babbs, the butler persuaded to masquerade as Charley’s Aunt- Donna Lucia d’Alvadorez. It is in Babbs’ character that Madge’s adaptation really shines. Rather than milking the cross dressing for laughs (although there are plenty), Babbs discovers some important truths about themself, and Gill manages to balance the humour with the more serious and poignant underlying theme about personal identity.
The farce steps up a gear in Act Two, when Charley’s Aunt (Maggie Service) actually arrives! Chaos and confusion ensue, and the energetic pace of the piece delivers us neatly to the closing scene, where all of the loose ends are tied - for better or worse!
Alex Berry has clearly had a lot of fun with the set and costume design, which artfully combines nods to the Victorian history of the play, all of the entrances and exits which are key to the riotous fun of a farce, and the flamboyant extravagance of Queer expression.
With a spectacular cast, and a clever and relevant adaptation, this production of Charley’s Aunt is sure to find a home on other stages after its run at The Watermill. As important and timely as it is charming and funny, it’s a perfect example of what breathing new life into much loved classics can achieve.
***** Five stars
Reviewed by: Sarah Brown
Charley's Aunt plays at Newbury’s Watermill Theatre until 15 November, with further info here.