First performed in 1982, Tom Stoppard's The Real Thing has lost none of its spark in the intervening years. The cerebral witticisms for which the author is justly famed crackle as freshly and fiercely from the stage today as twenty years ago. Snappily satisfying dialogue alone, however, does not a fine production make. Stoppard himself would doubtless agree that, while all plays share the same ingredients - actors, set, costumes - these superficial characteristics do not necessarily make a production 'the real thing'.

As Henry (Andy Mortimer) points out to Annie (Sarah Teacher) in a particularly engaging and well-performed exchange, a wooden club may look like a cricket bat but, if it lacks crucial and subtle characteristics, it will leave anyone foolish enough to try to use it to hit a ball dancing about with his hands in his armpits. Like a cricket bat a successful performance must be properly sprung and, for the most part, this production is exactly that.

In spite of the complex theatricality of the play, in her programme notes director Olivia Grant expresses a desire to attain simplicity in the production. Although set, costumes and staging are unremarkable in themselves the basic, pared-down appearance allow the layered complexity of the drama to speak for itself and make its witty sophistication all the more effective and affecting. Interesting use is made of the theatrical space and small sections of the play are performed in the gallery, highlighting the distance at which small parts of the action take place.

The chief strength of this production, however, lies in its casting. All the actors give convincing performances, especially after the interval (once the slightly stilted manner of the earliest scenes dissipates). Sarah Teacher (Annie) and Andy Mortimer (Henry) in particular display sensitivity and maturity in their portrayal of Annie and Henry's fragile and floundering relationship, and Caroline Dyott makes an unflappable and urbane Charlotte.

Sharply exposing the cracks and flaws in relationships and musing on the relative impossibility of finding real honesty and fulfilment in a romantic attachment, this may not be the ideal play to see on a first date but it is a thoughtful and highly entertaining production that certainly merits a look.

Catherine Kernot, 19.05.04