The Country Wife
by William Wycherley
Worcester College Gardens until Sunday 27th

William Wycherley's bawdy restoration comedy is given the full wigs-and-frocks treatment by The Buskin's of Worcester College this week. It is being staged outdoors, and the setting is brilliant: next to the college's lake and with the sun setting in the background. This proximity to water does, however, result in an abundance of midges, so you'd do well to pack your insect repellent.

Sex is the thrusting force behind all of The Country Wife's cleverly intertwined plot strands, which together explore the romantic entanglements of a group of wealthy characters in sordid post-Puritanism London. The key story concerns the wit Horner - a particularly 'lewd fellow' who passes himself off as a eunuch in order to have his way with the duplicitous London women. Edmund Wiseman gives a strong performance in this role, although a bit more campness in the Kenneth Williams mould would have made him an even more convincing saucy hero.

The eponymous country wife Margery, (sympathetically played by Esme Patey-Ford) is brought to town by her possessive and cruel husband Pinchwife - an amusing but not very threatening portrayal by David Wood - who is farcically desperate to prevent her from being won over by Horner. This scenario leads to some of the production's funniest and best played moments, as Pinchwife's attempts to "protect" his wife grow ever more ridiculous and cross-dressing inevitably beckons.
In a diverting side plot Harcourt (a likeable James Thomas) attempts to woo Alithea (Anne Dowland) away from her ridiculously foppish fiancée Sparkish, played with supremely irritating Rik Mayall-esque relish by Alexander Runchman in a big pink wig. Harcourt's love, at least, is sincere and provides a refreshing antidote to the amoral infidelity of the other characters.
Of course, being a restoration comedy, it's all terribly mannered and affected and this will annoy some theatre goers who like their plays a little more naturalistic. Some of the social satire has, inevitably, dated: the point that women are just keen on promiscuity as men, for example, bears little impact these days. But the types of characters targeted for mockery are broadly recognisable, and Wycherley's wit is still cutting. Some techniques reek of amateur dramatics (there is much brandishing of invisible money on stage) but there is much to recommend this lively production including live music.

Ultimately this is an enjoyable show by Laura Rowe, enthusiastically played throughout its lengthy duration by an impressive cast.

Ben Coren, 22 / 5 / 01