BWW Review Part 1: THE LITERATI at SBW Stables Theatre

The pursuit of an original idea is the most fruitless of our generation, it might perhaps be pertinent to say, as it is inferred in Justin Fleming's The Literati which itself is modernised after Moliere's 17th century comedy 'Le Femmes Savantes'. Premiered to the world at The Stables by a partnership of Griffin Theatre Company and Bell Shakespeare, what we have here is riotous, irreverent and cheesy good fun. We enter into the salon, exquisitely designed by Sophie Fletcher to dynamic effects, and are introduced to two polarised sisters. The younger, Juliet, seems set to marry Clint, the former lover of the elder Amanda, who spurned him in favour of intellectual pursuits in the image of their mother. Amanda and her mother oppose the coupling, due to their investment in the odious poet Tristan as suitor for Juliet, utterly manipulated by his pretentious prose. A domestic war is waged between sincerity and scholastics, and all done in Fleming's verse to seemingly effortless comedic effect.

Although modelled after centuries-old text, current trends in feminist thought, family structure, and even changes to education and arts funding make The Literati wildly current and even controversial. The decision to make the Vadius character a woman was inspired, not just because it allowed a casting economy for the fantastic Caroline Brazier to take the stage more, but because it gave rise to a female character of distinction, integrity and intellect. This juxtaposes wonderfully against the other female characters who're seen to either squander their intellect on pretention, or become jesters in what efforts they make without such aptitude. The diversity in casting is also fantastic, where sisters in narrative do not have to appear similar, but talent can dictate who is on stage (and Miranda Tapsell has spades of it, even in the sickly-sweet Juliet delivery).

As ever, the employment of Kate Mulvany in comedic spectacular is bang-on, using every tool in her repertoire to make the ridiculous plausible and the usual preposterous. Her characterisations of the uptight, Electra-complex-for-daughters Amanda are totally scene-stealing, but such comedic leadership is important to suspension of the kind of critical interpretation that would abhor the rhyming throughout. Fleming shows expert understanding of Moliere, with whose work he has been professionally intimate for many years and productions, and diversifies rhyme to indicate to audiences the themes of the dialogue and thereby layer the piece for anything an audience member is seeking. As far as leadership of The Literati's energetic peaks and troughs, Caroline Brazier absolutely wields the rhythm and in her delivery is always an improvement on the dynamic with her resonance and authenticity. Jamie Oxenbould was definitely MVP of the night, powering through character and costume changes like plays on a sports-field all the while keeping his rhythm and hitting every punchline. Gareth Davies' was so convincing as the self-absorbed and grandiloquent Tristan Tosser, I found myself avoiding the post-opening drinks in case it wasn't an act! Kidding aside, his characterisation was reminiscent of Geoffrey Rush's bombast, giving The Literati real drama where needed.

Deserving of much praise is director Lee Lewis. The clear highlight of The Literati is the physical comedy and camp that allows Fleming's text to be fully appreciated as the style of poetry once greatly admired, but in a world of spoken-word and slam prose is considered by some as outdated. It is for this reason I have also written a verse review of the show to keep the tradition alive. If you're looking for whoops of laughter, an extension of your conversational vocabulary, and some excellent performances poking fun at both the sickeningly smart and the sweetly stupid, then take an audience with The Literati.

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