Review: JEEVES AND WOOSTER IN PERFECT NONSENSE, Salisbury Playhouse - Tour
Photo credit: Marc Brenner
The Code of the Woosters by P. G. Wodehouse was first published in 1938, and has been adapted countless times for radio, stage, and screen. Jeeves and Wooster in Perfect Nonsense is the fond retelling of Wodehouse’s tale, by brothers Robert and David Goodale, which premiered in 2013.
This new co-production by Wiltshire Creative and Octagon Theatre Bolton is a masterpiece of farcical storytelling, chock full of 1930’s colloquialisms, exceptionally silly character names and a plot premise so ridiculous that it’s impossible not to laugh out loud.
Performed by a cast of just three, with no fourth wall, the laughs are drawn as much from the speedy character changes and the slapdash staging as they are from the Goodale brothers’ Olivier Award-winning script, which took the honour of Best New Comedy in 2014.
Luke Barton as Bertie Wooster is the only cast member who plays one character, and brings a loveable pomposity to the role. He is joined on stage by the talented Alistair Cope who multi-roles as a Butler called Seppings, Wooster’s Aunt Dahlia, and the comically evil Spode as well as other bit parts, and nimbly switches personas, costumes and voices.
It is Patrick Warner who steals every scene however, expertly embodying Jeeves’ calm professionalism, Sir Watkyn Bassett’s blustering buffoonery and cousin Stiffy’s conscious naivety- the latter two characters engaging in a riotously funny Victor/Victoria scene during Act Two, which earns Warner a well deserved round of applause from the appreciative audience.
The set and costume design by Olivia du Monceau are well considered, and in keeping with the humorous nature of the show. More than once, Wooster comments on the deceptive moving set pieces, or leaves comical pauses as one of his cast members is offstage performing a quick change. The lighting designed by Jane Lalljee is simple but very effective, with a few well placed spotlights to highlight comical moments and Matt Eaton’s sound design adds another delightfully daft layer to the production. Some over the top sound effects are intermingled with the use of foley sound; during one scene, a butler’s trolley is used to showcase the many items used for the sound effects of a passing train.
It was a pleasure to be in the audience during a relaxed performance, and see it so well executed by the venue and the production team. BSL interpretation, captioned stage text and audio description were all in evidence, and were being utilised by a large percentage of the audience. It is always a joy to be a part of an audience which feels truly accessible.
Perfect Nonsense lives up to its title. Nonsensical and nostalgic, it is a fantastically fun evening of theatre.
**** Four stars
Reviewed by: Sarah Brown
Jeeves and Wooster in Perfect Nonsense runs at Salisbury Playhouse until 23 September, before transferring to The Octagon Theatre Bolton from 4–21 October.