An Ideal Husband

The current tour of Oscar Wilde's classic An Ideal Husband is a bit of an enigma. It is a production that refuses to die, for this is the umpteen revival of a piece that premiered in London 15 years ago and is populated by actors well older than the characters they play. And yet it still works remarkably well.

Though written at the end of the 19th century, the play feels contemporary. A highly-regarded politician is blackmailed into supporting a cause he greatly disagrees with in order to cover up a past scandal that would destroy his career and life if it were to become known.

Though the plot is forwarded by such convenient clich's as misinterpreted letters and lost items, the subject matter is so intriguing and the characters so interesting that one barely notices how trite some of the play's moments actually are.

Acting as a commentary on society and political intrigue, Wilde's script offers colourful observations that both satirise and celebrate late Victorian-era life. It is far more dramatic and absorbing than one would expect, but it is still full of the wit of one of the English language's greatest scribes.

The play premiered roughly the same time as his defining piece The Importance of Being Earnest and has since been overshadowed, which is a shame because it is equally good. While Earnest is nothing more than clever lines and scenarios stitched together with convenient characters and plot devices, Husband is actually a cleverly plotted play that is held together by brilliant lines. Both plays compliment each other, to the point where those overly familiar with the texts will recognise many phrases and lines that both share.

Opinions of the performances in this production will depend on one thing: how willing one is to suspend disbelief over the cast's age. This is clearly geared towards an older crowd, using familiar actors from stage and screen that those of a 'certain age' will know and enjoy seeing. Most of the actors are clearly over a decade older than their characters, with, for example, two key characters who were supposed to be schoolmates played by actors separated by at least two generations.

Kate O'Mara has been playing the villain, Mrs Chevely, for some time. She clearly loves the character and plays every moment exceptionally. Equally strong is Robert Duncan's Lord Goring, a character many see as a parallel to Wilde himself. From line delivery to simple posture in the background, Duncan's performance is electric, shifting from grand dandy to moral philosopher with ease.

One must also mention Paul Aves, who substituted for Michael Praed on Monday's performance. Anyone who hadn't looked at the programme or heard the pre-curtain announcement would not have guessed he was the understudy, so skilled was his performance in the key, and difficult, role of Robert Chiltern.

The production may be in danger of becoming more of a relic than a fresh form of entertainment, but An Ideal Husband still proves to be an enjoyable piece of theatre. It contains solid performances of one of British-theatre's finest scripts, even if the production is a bit safe and more focused on style than pace.