Reading the plot description for The Recruiting Officer on Wikipedia pre-show, I was sceptical. Oxford Theatre Guild’s latest offering is a Restoration-era comedy with a storyline that ducks and weaves like a farce. There are mistaken identities, a character disguising herself as a man, a fake fortune teller, forgery and duelling. Having been penned in 1706, there’s also sexual politics so wildly dated that they sort of swing back around into being entertaining rather than wearying.
And somehow the team here makes this all perfectly delightful summer fare, staged in the Trinity College Gardens. The plot follows the social and sexual escapades of two recruiting officers, the charming rake Captain Plume (Peter Todd) and the bold but utterly socially obtuse Captain Brazen (a hysterically funny Triona Adams) as they pursue women and try to recruit officers and pursue their love interests in the quaint town of Shrewsbury.
This is a big ensemble cast, with several members doubling as musicians for the folk song interludes, and no one in the cast drops the ball. Particular props go to Olivia Roger’s Silvia, Plume’s love interest, a wry and intelligent woman who disguises herself as a potential recruit called Jack Wilful. Rogers brings spritely energy and sparky comedic timing to the role.
As Captain Plume, Peter Todd is a great match, playing the anti-hero with a rockstar smirk and swagger and unabashed charm. As an actor, his inherent likability does wonders here to save a character who could have been a gratingly smug bore. Instead, you find yourself cheering on his wily schemes.
Elsewhere, Paloma Cole brings a regal flair to Sylvia’s haughty cousin Melinda, and as Sergeant Kite and Mr Balance, Richard Readshaw and Keith Heddle not only convince but truly make the most of their roles. But the production arguably belongs to Triona Adams’ Captain Brazen, whose pompous accent and command of the stage make her fool of a character into a wacky, scene-stealing delight, that had the audience in stitches with each appearance.
The direction from Ruth Readshaw also deserves commendation. The play’s language can be dry at times, but that’s never an excuse to just let the moment pass by - the actors beautifully illuminate the meanings throughout with action and tone.
Finally, the costuming and prop design is excellent, with whimsical papier-mâché horses and a basket of chickens that’s absurdly adorable. The open-air set worked well too, matching the freewheeling feel of the story. And the production very smartly thought to offer blankets (for a small fee) - by the start of the second act, the vast majority of the audience was snuggled up.
If I had one criticism, it may be the length - at over two hours, it’s a solid commitment. But ultimately, by the end of the night, the production felt like that most summery of concoctions, the trifle - sweet and feather-light and moreish. If you’re looking for something undeniably feel-good to make the most of the long bright evenings, it’s hard to think of a better ticket.
