THEATRE REVIEW: The Recruiting Officer - The Dam House, Astley. Greater Manchester.

Outdoor performance specialists, Rain Or Shine Theatre, came to the Dam House in Astley for two performances of George Farquhar's seminal play, 'The Recruiting Officer'. 

Written in 1706 [just a year before the forming of Great Britain, and under the rulership of Queen Anne], this is one of the finest examples of Restoration Comedy extant. With a clever and dense plot, lots of mischief and sexual goings-on, it is much more akin to a modern-day farce than straight comedy (forgive the oxymoron). Having studied this text in great detail at Drama School (many moons ago!), and not having seen a live performance of the play before, I was more than interested to see what Rain Or Shine made of this highly comedic, "every-line's-a-winner", script. 

I was delighted to see that the costuming was quasi-authentic. A certain amount of research and effort had gone in to trying to create, as near as possible, an authentic feel to the show in this regard. Although, broad West Country accents and stereotypical "village idiot" smocks would not have been my go-to choice. Whilst, for a touring company performing outdoors, sets are normally very basic, and weather-proof. Here a large wooden flat, used as a backing to a raised stage had been erected. It was quite crude, but functional; however, once the play got going and the scenes changed... with a clever hinge and double-sided flat (along with an ingenious painting change!), it was much more successful. 

I was also extremely grateful that none of the characters took themselves too seriously. Such is the nature of this kind of comedy, it is necessary to be able to laugh at as well as with yourself and the situations you find yourself in. The ad-libs and interjections made throughout of being cogniscent of being watched, having programmes, an interval, etc.. were apt for this style of production and worked nicely. 

Directed by Jonathan Legg, the play started well, but lacking in pace. Sadly, the first act of this evening's production was rather pedestrian and the cast were neither finding enough humour in the text nor picking up on their cues as speedily as they ought to have been. The second act was much better, and the audience lifted noticeably during it. If this pace and understanding of the humour and style of play had started the show, it would only have got faster and funnier in the second act, and that would have been fabulous. 

I would not normally approve of gender-blind casting in a play such as this - when the plot's main contrivance is that a female dresses as a male for her own ends with comedic and happy results - however, this being a touring show, I understand that "doubling" is a necessity, and in fact, it did not detract from the play at all fortunately. In fact, I would perhaps go as far as to say that, in the case of Anthony Young's panto-dame-esque Lucy, it added much to an otherwise quite dull role. 

In fact, all the actors in this  evening's play were most 'worthy'. (a-hem!) The differing dynamics and style of acting brought about by the two main protagonists, Ashely Shiers and Ian Alldis as Captain Plume and Sargeant Kite respectively was a most interesting casting choice. Shiers was immediate, friendly and personable, with either a genuine or a rather concerned smile, he portrayed his character as a 'jack-the-lad-made-good', and we were able to sympathise with him; whilst Alldis's recruiting style was much more deliberate, austere and commanding with a deep bass voice - he would have made a great sargeant major or Windsor Davis impersonator! Perhaps an opportunity was misssed to make some comedy out their physical differences too?

All the other cast members played more than one role. Pippa Meekings was unimpressive as Pearman, but her delighful romping as Sylvia Balance in britches was excellently observed. John Cooper-Evans found two nicely contrasting characters with Appletree and Worthy. Anthony Young, as I've already mentioned was memorable as Lucy, and would also fit well into the Peter Pan panto as Captain Hook, as his portrayal of Justice Balance attested. A very watchable and adept actor. Rob Keaves was a slow-witted Bullock and a foppish Brazen, understanding nicely the comedy and style of performance necessary for such a role. However, I have left until last the one who, for me at least, showed the greatest skill on stage this evening. Emily Morozow started the play as a musician in the army, before we saw her as both Melinda Balance and later on as Rose. Bot Melinda and Rose are not dissimilar in many ways and yet Morozow found two completely contrasting characters from them, and we were not even for one second, aware that it was the same actress. Her understanding of the Renaissance style nicely showcased in her portrayal of Melinda. An actress to keep an eye out for in the future most certainly. 

All in all, it was an enjoyable show, and I am extremely grateful to have been able to have seen a production of this play after goodness knows how many years (more than I dare admit to!). It just needed a little extra punch and more comedy (both verbal and physical) to make it VERY enjoyable. 

Reviewer - Matthew Dougall
on - 18.6.22