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She Stoops to Conquer

She Stoops to ConquerPresented by the Burnside Players
Reviewed Thurs 20th May 2010

http://www.burnsideplayers.com

Venue: The Arch, Holden Street Theatres, 34 Holden Street, Hindmarsh
Season: May 20-22 & 26-29 @ 8pm, May 23 @ 6pm, May 29 @ 2pm
Duration: 2hrs 30 min incl 20 min interval
Tickets: Adults $18, Conc. $16, Groups(10+)/Fringe benefits $14
Bookings: http://www.venuetix.com.au booking fees apply, or Burnside Players booking number 8225 8888

Irish author, Oliver Goldsmith’s, enduring comedy of manners dates from 1773, is still often performed today, and has been adapted several times for films and television productions. It is also commonly used for study purposes in drama classes, particularly in England and America. Burnside Players have taken up the challenge of this piece, attempting to present it as they think that it might have been seen in the 18th century. They have chosen to use the intimate Arch venue, adding a string of footlights across the front of the stage although, wisely conforming to modern practices and OHS&W requirements, incandescent globes are used in place of the very dangerous limelight of the 1700s. Initially entitled Mistakes of a Night, the events occur in that short space of time.

The primary plot revolves around Miss Kate Hardcastle, the dutiful daughter of Mr. Dick Hardcastle and his wife, Mrs. Dorothy Hardcastle, and Kate’s arranged suitor, Mr. Charles Marlow, son of Sir Charles Marlow, an old friend of Mr. Hardcastle. Charles has a problem relating to women of his own class, becoming shy and tongue-tied in their company, although around those of a lower class this affliction vanishes and he has no difficulty in his lecherous pursuits. Accompanied by his friend Mr. George Hastings, Charles is travelling to the Hardcastle’s mansion, but loses his way. They stop at an Inn where they encounter Mr. Tony Lumpkin, Mrs. Hardcastle’s wastrel son by her first husband. He convinces them that they are far from their intended destination and that, although there is no room at this inn, there is another, much better inn nearby where they can stay overnight, refreshed to resume their journey the next morning.

He directs them to the Hardcastle mansion where, on arriving, Charles bosses around Mr. Hardcastle, mistaking him for an innkeeper with pretensions to a higher status then he actually holds. He mistakes Kate for a barmaid and she, being made aware of his shyness with women of his equal, by George, and realising that any courting is doomed to failure, allows him to continue in his mistaken belief. He, of course, falls in love with her.

Meanwhile, the scheming Mrs. Hardcastle is attempting to marry off her son, Tony, to her niece, Miss Constance Neville, oblivious to the fact that they do not even like one another. Constance, however, is secretly in love with George and they plan to elope, taking with them the jewels that belong to Constance, but that Mrs. Hardcastle keeps under lock and key. In the end, after much comic confusion, all ends well for everybody but Mrs. Hardcastle and, as she is an unpleasant character with no redeeming features, this pleases the audience no end.

Director, Damien White, has created a stylish piece, aided immensely by the wonderful costumes designed by Cara Brown and Lorraine Brokenshire, with the assistance of White and Vi Rowe. The simple set, a screen across the rear, with a few sticks of furniture being interchanged for each scene, is subtly lit by Tony Moore.

Stephen Bills makes a fine Charles, slipping easily between the shy young man and the rake, and Heather Crawford counters him nicely as Kate, one moment the refined daughter of a wealthy man, the next playing out the part of the lowly barmaid as she stoops to conquer George. Eleanor Boyd presents us with a suitably obnoxious and overbearing Mrs. Hardcastle, the opposite of the generally easy going Mr. Hardcastle of Nik Hargreaves, who then swings well into the blustering of the man mistaken for an innkeeper.

There is also good work from Miriam Keane and Andrew Dowling as George and Constance, with some very convincing romantic interchanges. Marlon Dance-Hooi, as Tony Lumpkin, could afford to be a little bigger in the role. There is good support from Glenn Cupit, Mark Drury and Scott Brokenshire in the minor roles of Sir Charles Marlow and the two servants.

Although the casting and performances are a little uneven this is, nevertheless, an enjoyable production that offers plenty of fun.

Reviewed by Barry Lenny, Arts Editor Glam Adelaide.

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