The Country Wife

Minerva Theatre, Chichester

Until July 7

SOME plays have timeless themes which translate across the centuries, such as much of Shakespeare, but many others are a product of the period in which they were written and should remain in the era where they started.

The restoration of the monarchy in Britain after the bloody Civil War and Cromwell’s bloodless Puritanism led to an outpouring of repressed freedom, colour – and sexual permissiveness, a fevered atmosphere which William Wycherley captured in The Country Wife, reflecting on the changes which allowed a lothario, Henry Horner, to have his wicked way with the women caught on the dilemmas of a society in flux.

This idea of portraying social and sexual revolution in modern times rather than the original end of the 17th century could, just about, work if set in the 1960s but Jonathan Munby’s production, which has the cast and setting brought forward to 2018, fails to convince with its modern dress, props and flashy disco-style music and backgrounds, especially when married to Wycherley’s prose.

Of course, being Chichester, the acting is outstanding and beautifully spoken so that the witty script of more than 300 years ago can be heard and appreciated, especially if you shut your eyes and pretended the actors were in the past not the present.

Lex Shrapnel put much energy into the lead role, although he didn’t appear to enjoy the task of seducer-in-chief, apart from talking about it, except when the main object of his desire, Margery Pinchwife – a vibrant performance by Susannah Fielding – came into view. Her boorish, and slightly evil husband, was effectively played by John Hodgkinson.

Scott Karim, as the foppish Sparkish, was a delight, while the two strong female characters, Alithea (Jo Herbert) and Lady Fidget (Belinda Lang) gave believability to their roles.

Alicia Denny