This week’s show at the OFS styles itself as a private human tragedy, observed against the backdrop of history about to erupt in the form of the French Revolution. King Louis XVI continues to attempt the appeasement of his politicians and the masses, while his brother Charles, and Duchess Gabrielle de Polignac, a favourite of Queen Marie-Antoinette, conspire to depose the liberal Prime Minister and retain their privileged lifestyle of decadence and power. Despite their schemes and resistance, the final scene of the play depicts the King and Queen alone, preparing to fulfil their historic appointment with the guillotine.
Gareth Russell’s play however, sets out to argue that there was nothing inevitable about the grisly demise of the French monarchy and that a stronger course of action on the part of Louis XVI might have led to his preservation. His script is immaculately researched, and very clearly presents the complex manoeuvrings of key figures at court, but his characters are not merely political ciphers, and ultimately it is plain old human frailty which emerges as the dominant theme.
Played out against a suitably claustrophobic set, this production, like the monarchy itself, certainly looks the part. The marvellously elaborate costumes are not just window-dressing, but give the female actors especially, an authentic and regal stage presence. Sadly, some of the performers are not quite up to the job of teasing out the potential in Russell’s script. Charles Dallas (Louis) certainly captures the weakness of the King, but fails to draw out any deeper nobility, thus losing the audience sympathy which is so key to the production. The cast on this opening night often seemed to be grappling with material which was still a little beyond them, with the exception of Beth Williams (Gabrielle) who brought a real desperation to the Duchess’ bitter determination. Her agonised cry of “No, I am not alright. I have been insulted,” encapsulates the aristocratic values that are given a humanising twist in this play. I hope this company grows in confidence as the week progresses. Ironically, it might allow us a clearer insight into the collapse that these powerful figures were forced to undergo.
Gareth Russell’s play however, sets out to argue that there was nothing inevitable about the grisly demise of the French monarchy and that a stronger course of action on the part of Louis XVI might have led to his preservation. His script is immaculately researched, and very clearly presents the complex manoeuvrings of key figures at court, but his characters are not merely political ciphers, and ultimately it is plain old human frailty which emerges as the dominant theme.
Played out against a suitably claustrophobic set, this production, like the monarchy itself, certainly looks the part. The marvellously elaborate costumes are not just window-dressing, but give the female actors especially, an authentic and regal stage presence. Sadly, some of the performers are not quite up to the job of teasing out the potential in Russell’s script. Charles Dallas (Louis) certainly captures the weakness of the King, but fails to draw out any deeper nobility, thus losing the audience sympathy which is so key to the production. The cast on this opening night often seemed to be grappling with material which was still a little beyond them, with the exception of Beth Williams (Gabrielle) who brought a real desperation to the Duchess’ bitter determination. Her agonised cry of “No, I am not alright. I have been insulted,” encapsulates the aristocratic values that are given a humanising twist in this play. I hope this company grows in confidence as the week progresses. Ironically, it might allow us a clearer insight into the collapse that these powerful figures were forced to undergo.