Review: THE RIVALS, Arts Theatre Cambridge - Tour

Photo credit: Ellie Kurttz

Tom Littler’s 250th anniversary edition of Richard Brinsley Sheridan’s The Rivals brings the 18th century upper class piece into the roaring 20’s with lots of vim, vigour and colour to roaring success.

Perfectly suited to this new setting, The Rivals becomes a sparkling comedy of thwarted lovers, inflated ideals, and spectacular social muddles. Young Captain Jack Absolute (Kit Young), eager to escape the constraints of class and convention, disguises himself as the penniless “Sergeant Beverley” to win the heart of the wealthy and romantic Lydia Languish (Zoe Brough). Lydia, intoxicated by the sentimental novels she devours—much to the horror of the older generation—is determined to reject sensible matches and instead marry for love, embracing a fantasy of noble poverty and virtuous suffering.

Unbeknownst to her, Beverley’s poverty is an illusion, and Jack’s deception sets off a chain reaction of misunderstandings. As rival suitors circle, parents interfere, and wounded pride demands satisfaction, society’s rigid codes collide with youthful passion. Duels are threatened, loyalties are tested, and identities unravel in a riotous battle of wit and will, where love must navigate disguise, desire, and the absurdities of honour before it can finally prevail.

The set features a series of black pillars decorated with geometric Art Deco patterns, firmly rooted in the era. Above the stage, a screen provides typewritten scene settings, complemented by period-appropriate furniture. The overall design is simple yet highly effective.

Scene changes are handled stylishly by the cast, with choreographed dance breaks woven into the movement of furniture. This approach may divide opinion, but it is never detrimental to the production; even for those less taken with it, the device adds energy, a strong sense of period, and enhances the vivacity of the piece.

Unfortunately, there were some sound issues in the second half last night. Two beautifully sung numbers by Joelle Brabban were affected by the loss of her microphone, but she carried on regardless, demonstrating consummate professionalism and still delivering a lovely performance.

Young and Brough share some delightful chemistry. Young, introduced to us in his bath, plays Captain Absolute with an aura of debonair but with a very mischievous side and you can often catch a sly smirk whilst he is on stage.

Brough is a very strong performer. She creates chemistry with all that she shares a scene with on stage and has some wonderful comic timing. Somewhat underused as the play focuses more on the male escapades, it feels there could have been some funnier scenes with her in.

Stalwart performers Patricia Hodge and Robert Bathurst shine as expected, Hodge as Mrs Malaprop; Lydia’s aunt keeping her firmly in check. Mrs Malaprop tries to maintain the tradition of not educating young women, and yet in her own efforts to appear clever substitutes words in the wrong place, creating hilarity and numerous faux pas. Malapropism even finds its way into the dictionary as a word used in place of another. For example, she suggests that the Captain should be reprehended instead of apprehended.

Hodge plays her as the battleaxe that she should come across as but still has tender soft moments when pertaining to Lucius O’Trigger whom she has been corresponding. She seems to enjoy playing this role and manages to display a little fun and mischief within the role, entering the audience and giving away a free programme as part of it.

Bathurst plays Captain Absolute’s bumbling father determined to get his own way. He is commandeering in his scenes and imposes his stature as Sir Anthony Absolute to keep Malaprop in check and manipulate his son.

There are scene stealing performances from James Sheldon as ‘Faulty’ Faulkland betrothed to Lydia’s cousin Julia. He is awkwardly anxious and makes faux pas after faux pas in his relationship to ‘test’ Julia’s love for him. The awkwardness and haplessness just comes across as hilarious and it is hard not to feel empathetic to his self-imposed plight.

The supporting cast play an array of servants, friends and rivals, with Joelle Brabban’s Lucy the maid a highlight with her breaking the 4th wall and talking to the audience to explain that everyone treats her as ‘simple’ yet she is far from the fact.

The costumes are divine. There are sharp period suits, army uniforms and an array of beautiful flapper dresses but what is particularly nice is that the characters are almost dressed to their moods. Lydia has a peachy pyjama ensemble when she is vulnerable and discussing her love for Sergeant Beverley at the beginning, with her meeting with Captain Absolute and subsequent arguments being dressed in red. Similarly, Mrs Malaprop has some rather bright cerise pink outfits when feeling bold. The extra touches are very much noticed within the costumes.

An evening of fun and frivolity.

The Rivals plays at Arts Theatre Cambridge until 7 February, with further info here.