One of the real pleasures of reviving the classics is discovering which particular aspects might shine anew. Director Tom Littler’s sparkling 250th anniversary production of Oliver Goldsmith’s fizzing comedy of manners is certainly very funny. The lightly edited text, which has been transplanted into the 1930s, is packed with sharp gags, whirling plot twists and inspired flourishes of physical comedy. But the most striking element is the emotional depth, with bursts of heartfelt tenderness, affection and even regret nestled amid the quips, tricks, laughter and song.
It’s Christmas Eve at Mr and Mrs Hardcastle’s country hall and a rather modern-feeling blended family is running amok. Mrs Hardcastle’s layabout son from her first marriage, Tony Lumpkin, is up to his usual mischief and Mr Hardcastle’s first daughter, Kate, is on the hunt for a husband. In just a few finely paced moments, Charles Marlow and George Hastings – two ridiculous gents from London – arrive on the lookout for love. Mishaps, misunderstandings and an awful lot of merriment will ensue (topped off by some very silly scenes involving a gloriously shaky servant and a huge bowl of punch).
The performances are beautifully pitched. David Horovitch’s Mr Hardcastle is the stand-out star in an excellent ensemble. He achieves so much with so little. The slightest twitch of the eyebrows or puffing out of the cheeks is all he needs to express the most tremendous indignation. As the production giddily races on, all Horovitch has to do is take a few grumpy steps and the audience giggles helplessly.
There’s a gravitas to Greta Scacchi’s Mrs Hardcastle that slightly slows things down – but also adds a touching pathos to the closing scenes as her spoiled son Tony (Guy Hughes) begins to pull away from his overbearing mother. Freddie Fox is a delight as the mercurial Marlow and the air positively crackles as Fox and Tanya Reynolds, as the commanding Kate, circle each other; teasing, testing and horny as anything. It’s all such good fun but surprisingly moving, too – no more so than when Horovitch’s Hardcastle hands over his daughter’s hand in marriage with such pride, such love and just a flicker of sorrow.
• At the Orange Tree theatre, London, until 13 January
