Review: THE DOCTOR IN SPITE OF HIMSELF, Drayton Arms Theatre, June 23 2016

Presented alternately in French and English (so check which language will be used before you book a specific night), The Doctor In Spite Of Himself (at the Drayton Arms Theatre until 13 July) brings one of Moliere's lesser performed works to the London stage - and what a delight it proves!

After a bit of awkward clashing between 17th and 21st century sensibilities towards domestic violence, the show takes off when woodcutter Sganarelle decides that he has to pose as a doctor to avoid the beatings for which his wife, Martine, has set him up. Soon he's winging it, "treating" lovelorn elective mute Lucinde by engineering her elopement with Leandre, while himself pursuing French maid (yes, there had to be one) Jacqueline, whom he wishes to perform a thorough hands-on examination. It's a bit violent, a bit coarse and a bit sexy too, but it rocks along at a decent pace and - well - life's a bit messy too, isn't it?

Seeing the production early in its run, the ensemble cast were not entirely committed to attacking the piece at full tilt (and some convoluted set changes may have preyed on their minds a little) but I expect the actors will soon settle into their roles, relax a little and bounce off each other more comfortably with words and movement.

David Furlong has a lot of fun with the erring doctor, who lucks out with his gullible clientele, keeping one eye on the girls and the other on his wallet. Yanouchka Wenger Sabbatini, in a succession of ever more garish wigs, vamps it up as the matriarch who is not above a bit of naughtiness herself, in a winning cameo that threatens a bit of scene stealing. Best of all are Leo Elso and Matt Mella, who channel the spirits of Laurel and Hardy as the hired muscle sent out to bring in the mysterious doctor - some fine physical comedy work gets plenty of laughs.

Presented all-through in an intimate venue, it's a real treat to see a work by Moliere, who, though often taken as a reference point in theatrical history, is not often honoured by having his plays performed in London in English. And how poignant that this Anglo-French collaboration should be staged right here, right now. Bravo et merci.

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