She Stoops to Conquer

Goldsmith’s classic comedy, commissioned to revive a dying genre and completed in 1771, takes a couple of love matches and throws in their path obstacles arising chiefly from the human need to be sure of the suitor’s suitability.  In this universality of motives, it translates successfully as comedy for modern audiences.  Relying less on linguistic cleverness than on straightforward deceits of universal application, the tale leads seemingly inexorably to disaster and disownment before resolving with a satisfying twist.

The play stands up well to the rapid pacing that its cast took it at, even if one or two lines were lost in the hurry of their delivery, and the plot, though intricate enough to intrigue, was not too difficult to follow easily.

Actors playing the landed gentry can easily overdo the pomposity that may come with the territory, but in general that was not a problem in this production, and, for the most part, learnt speech styles did not interfere at all with communication.  The emotional swings and roundabouts were well handled by all.

The coordination between all the members of the fairly large cast was impressive, and they somehow managed to stay in character even as they doubled as ad hoc stagehands in changing sets.  The musical soundtrack that delineated various scenes was interestingly appropriate and energetic, and lighting, as usual in Rep productions, so suited the scenes that it was all but unnoticeable, which is, usually anyway, just as it should be.

If you’re in any doubt as to whether this eighteenth-century play can hold your attention and give you a good laugh, you needn’t be.  It’s a rollicking good show.  Don’t miss it.

John P. Harvey

Images: (L–R) Elaine Noon and Jonathan Pearson, & (L–R) George Pulley and Teig Sadhana, in She Stoops to Conquer.  Photographer: John P. Harvey.