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Bitter Pill Productions in association with Nicola Seed and Philip Anderson-Dyer present
Too True to Be Good
by George Bernard Shaw
Directed by Sarah Norman
Finborough Theatre
1-26 September 2009
ay Couzen
A review by Marianna Wood for EXTRA! EXTRA!
Everyone has a list of things that they want. It may not be written down on a piece of paper, but it’s there, betrayed by the sighs that escape our lips when we see the objects of our desire. What if you could have all of them and more tomorrow? Where would you go from there? Too True to Be Good by George Bernard Shaw at the Finborough explores exactly that.
The first act of the play is about a young woman, Miss Mopply (Olivia Lumley), who is convinced by Sweetie (Emily Bowker) and Aubrey (Alex Blake) to sell her valuable pearl necklace. They also convince Miss Mopply, currently under the care of her controlling mother (Jenny Lee), to become a willing kidnap victim in exchange for a share of the ransom money. With the money from the ransom and the sale of the necklace, they believe they’ll be able to live their dream lives. The second and third acts of the play revolve around the less than dream-like results.
The production is solid throughout. This script may not be Pygmalion or Major Barbara, but it is still worthy of notice. The text is strong, although the presence in the first act of a non-human bacillus called Monster (Steven Alexander) who has the German measles is odd. However, Alexander, dressed head to toe in neon green, does add melodramatic charm and insight to the play, teasing small confessions from the Doctor (Graham Seed), who is being paid to care for the ill Miss Mopply.
There were credible performances from the entire cast. All of the actors and actresses had persuasive moments but could perhaps benefit from being pushed by the director (Sarah Norman) to take more risks with their characters. Jokes are sometimes lost and tender and awkward moments are perhaps not quite fully realized.
For example, the relationship between Mrs. Mopply and her daughter could have more intensity. Some of the mother-daughter tension is perhaps lost as Lumley’s performance in the first scene mirrors the melodrama of Monster. This in turn somewhat robs their mutual transformations of some of their potential emotional charge.
The same could not be said about the relationship between The Elder (James Clarkson) and Aubrey. The tension between them is palpable. Elder is an atheist and Aubrey wanted to be a preacher. The pair’s forceful commitment to their characters’ goals effect a turbulent, believable attempt at reconciliation or at least a reluctant acceptance of each other.
In regard to the people looking for Miss Mopply, Colonel Tallboys (Roger Braban) and Private Meek (Tai Lawrence), Meeks always seems to have the upper hand with the Colonel. In fact, Meeks could even be a colonel, which in turn renders Tallboys somewhat useless and completely irritated. Roger Braban looks the part of the blustering, frustrated and out-of-the-loop Colonel, making his desire to focus on his water colours easy to believe, and Tai Lawrence gives deadpan replies to the Colonels questions, which adds to the humor and moves the scenes along quickly.
Miss Mopply’s friend Sweetie (Emily Bowker) has relationships with two men in the play, Aubrey (Alex Blake) and Sergeant Fielding (James Hogg). There is a slight sexual tension between former lovers Aubrey and Sweetie, which contrasts well opposite her relationship with her latest fling, Fielding. Hogg creates a character who rationalizes everything, including romance. Hogg’s Fielding convinces not only a finicky Sweetie, but also the audience that they will make it as a couple.
The set design, props and costumes were simple and effective. Much of the plot revolves around wealth and status, however, and the audience might have benefitted from seeing more tangible changes in the appearance of the actors and set. After Aubrey and Sweetie come into their money, they wear swimming costumes for the rest of the show. They are at the seaside, but where are the accessories, the lavish picnic basket, lush towels etc.? Their wealth is talked about but never really seen. Exercising the imagination is part of the fun of the fringe, but a few well-placed items might have helped hint at opulence.
The show is about people who suddenly come into wealth and the problems that brings. In the credit crunch, hearing people complain about having too much money may not the timeliest topic. But it was fun to spend an evening with these off-beat characters, but I can’t help but think that the production might be even more successful when the economy is booming.
Box Office: 020 7373 3842
www.finboroughtheatre.co.uk
Prices £13, Concessions £9
Times Tues–Sat 7:30 pm; Sun Mat 3pm
Box office 0844 847 1652
Finborough Theatre
118 Finborough Road
London SW10 9ED
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