Stephen Jeffreys : The Libertine
Directed by Dominic Hill
Stephen Jeffreys' bio-drama based on the life and times of John Wilmot, 2nd Earl of Rochester, was created in 1994, filmed in 2004 and is now being given its first UK revival since its creation here at the Citizens' Theatre, in a production directed by the company's Artistic Director Dominic Hill.
Focusing much on Rochester's relationship with theatre, Hill's production is set sort of on a stage-within-the-stage. The stage area is mostly bare, so that you see right to the rear, with a few painted flats, and some tables and chairs scattered around. As the audience takes its seats, the players drift on stage, partly dressed and made-up, chatting desultorily amongst themselves, sitting down to complete their make-up, until bit by bit what has been a random grouping of people turns into a tavern table with a couple of prostitutes lolling about, and the group of Restoration wits known as the "Merry Gang" eagerly dissecting Dryden's newly minted Aurung-Zebe. With approximate period costumes, and this sparse and mobile decor that constantly reminds you that you're in a theatre, the simple setting is effective, allowing the cast full, unfettered scope. Jeffreys is only partly making a Restoration pastiche, so Hill is only partly giving it a period setting, there are modern touches (the wheelchair in the last couple of scenes) just as there are some distinctly modern turns of phrase.
This isn't quite a biography of Rochester. The piece covers the last five years of his life - during which he was reputed to be consistently drunk - and covers his steadily declining relationship with King Charles II, and the rise and fall of his relationship with the actress Elizabeth Barry. Jeffreys gives him a brief prologue, during which he warns the audience off liking him, but at the end he is asking, half-ironically and half-pitifully, "Do you like me now?" The play is partly a reflection on theatre, and on its purpose(s), and partly a portrait of a man constantly seeking the meaning of life, or a meaning for his life, at least. Curiously enough, watching this, I was strongly reminded of the BBC's Sherlock, seeing a similar depiction of a frighteningly intelligent, but addictive, personality desperately in need of constant stimulus for his over-active mind, and whose behaviour becomes increasingly self-destructive.
What we don't get is any real reflection on Rochester the poet. Although Jeffreys touches on his subject's work throughout the play, there's never really any consideration given to Rochester as a creative artist. His epigrams are displayed as mere party tricks, what we see of his poetic work is mostly some of his most outrageous, and only the King really makes the suggestion that Rochester may be wasting his talent in crude tomfoolery. The refrain that runs through the play is Rochester's need for 'truth', something he seems to believe he can only find outwith himself.
Martin Hutson doesn't perhaps exude the sexual magnetism one might expect from this English Don Juan, but there was a real darkly cynical presence, and the cutting wit flowed convincingly from him. I never quite believed in the love story with Mrs. Barry (a nicely fiery Gillian Saker), but I think that was more Jeffrey's fault than the actors'. John Hodgkinson made the most of the intermittent appearances of Charles II, a solid, imposing force, suitably looming over the others (Charles was reputedly unusually tall for a man of that period), and booming-voiced. I thought Andy Clark played Sackville as a little too 'precious', but liked his rather hapless Mr. Harris. Charlie Archer was suitably puppyish as the unfortunate Billy Downe, but the Merry Gang was clearly led by Tony Cownie's excellent George Etherege.
I bought my ticket to The Libertine on a whim, and don't regret it for a moment. It's a clever, witty play, by turns funny and thought-provoking, well-acted and well-staged, and as enjoyable a theatrical experience as I've had in years.
[Next : 15th May]
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