The Rivals

"'Tis safest in matrimony to begin with a little aversion." A malapropism from Mrs. Malaprop herself which seems to sum up the play, The Rivals by Richard Brinsley Sheridan.

The Rivals is the Adelaide Repertory Theatre’s last offering for the year and their first performance returning to a live audience.

A satisfying end of the year for the ‘Rep’ who have been stoically soldiering on through Covid-19, providing audiences with virtual plays online.

After passing through screening and finally being able to sit in a theatre again, the excitement was palpable as theatregoers renewed friendships and eagerly awaited live theatre. They were not disappointed!

The Rivals is a comedy of manners. Its storyline depends on mistaken identities and miscommunication, and contains elements of farce, relying on precise pace and timing to enable Sheridan’s lines to shine.

It concerns the romantic adventures of Lydia Languish, who is determined to marry for love and into poverty. Realizing this, the aristocratic Captain Jack Absolute woos her while pretending to be Ensign Beverley. ... In the end, Lydia abandons her sentimental notions and agrees to marry Jack.

A simple story? Definitely not. There are more twists and turns than a roller coaster with each of the twelve characters playing an important part in unravelling this classic tale.

Emerging director Matthew Chapman has assembled a strong cast to realise his vision. His characters are well drawn and exude all the foibles, pace and energy required by this genre.

I particularly enjoyed the addition of comic ‘business’ to many of the scenes, one of the highlights being the interlude comedy dance in Act 2 with violin accompaniment.

The cast of twelve included some familiar experienced faces to ‘Rep’ audiences and some newcomers. It is reassuring to see so much youthful talent on stage ensuring that when this difficult virus period is over, amateur theatre is in good hands.

Allison Scharber’s Miss Lydia Languish, the heiress, nails every laugh and sideways glance and swoons at the drop of a hat. Patrick Clements’ Captain Jack Absolute, caught in his own web, excels in his ability to take us into his confidence and so endears his character to us.

Lindsay Dunn’s Sir Anthony Absolute is the epitome of stuffy English aristocracy. Kate Anolak’s Mrs. Malaprop sails on like an 18^th century version of the Britannia. Lost in her own malapropisms she endeavours to manage her niece’s love life to no avail.

Emily Currie’s Miss Julie Melville and Don O’Donnell’s Faukland are the seemingly star-crossed lovers striving to express their true feelings for each other beautifully played with innocence and sincerity.

The other characters, though not featuring as frequently, provide the essential elements that link the story and add to the richness of the narrative.

Guy Hendersen’s Bob Acres, the wannabe aristocrat is flamboyant and multi-talented (with live onstage violin playing). Matt Houston’s Sir Lucius O’Trigger (tamed down by Sheridan after an initial negative reaction by 18^th century audiences) steals every scene in the best possible way.

AJ Bartely’s Mr Backbite is the ultimate conniver all the while trying to protect his master. Rebecca Kemp’s Lucy is bawdy but with a good heart.

Philip Lineton’s Thomas is doddery and comically older than God and Jess Wolfendale’s Sally is a loyal servant, even when sorely tested at times.

The Rivals is backed by a solid production team of Rebecca Kemp, Richard Parkhill, Ray Trowbridge, Beck Jarrett, Matt Chapman, Emily Currie, Sean Smith and Annie Smith covering Assistant Direction, lighting, Stage Management, costumes, makeup, sound and hair styling.

With today’s focus on political correctness and cutting-edge productions it is gratifying to know that well directed, cast and performed, classics can still maintain their relevance and enjoyment. Well done!

Barry Hill