A resourceful manservant is left in charge of his master’s London home during an outbreak of plague and during his absence, falls-in with a pair of confidence tricksters. The resultant bargain struck between the three, provides the basis for Ben Johnson’s seminal 1610 work The Alchemist which is currently being presented in the main house of the Barbican, by the RSC.The theme of “a little greed stretches a long way” (usually resulting in mad-cap shenanigans once an assortment of characters embrace their inherent human weaknesses), has been explored extensively down the ages, not least by Shakespeare, Moliere, Mozart and more recently through the Whitehall farces, the works of Alan Ayckbourn and the team responsible for presenting “The Play That Goes Wrong” and its spin-offs. Invariably the success of the writing depends upon the creation of a witty and/or loveable central rogue through whom the audience vicariously experiences the unravelling chaos and ultimately enjoys the spectacle of him juggling a resolution by the skin of his teeth, or learning a harsh but salutary lesson in life.
Ken Nwosu in the charmingly naïve pivotal role of the butler, embarks upon his task without the need to dominate every scene; the result is a level playing field on which his co-players mellifluously conjure a dizzying assortment of instantly recognisable charlatans, puritans, villains and dupes. Much rumbustious and bawdy hilarity ensues with notable turns by Ian Redford, Siobhán McSweeney, Tom McCall and Mark Lockyer as the Alchemist of the title. Polly Findlay directs her players with racy, pacey skill on Helen Goddard’s suitably period set complete with candles, pyrotechnics and a stuffed crocodile suspended above the stage, whose mouth acts as the depository for each ill-gotten gain as the plot proceeds.
In an age when the populace has much reason to question those who spin convincing lies, (yet rise with seemingly few negative consequences), the play perhaps holds rather more relevance to a modern audience than we might at first suppose. Whether you simply accept the chaotic capers at face value or trawl for more hidden meaning, you are sure to find yourself guffawing at this charmingly slick, comedic triumph which continues in repertory until 1st October.
I was very excited about this production. One of the best theatre experiences i’ve ever had was an Oli Rose production at Hoxton Hall seven years ago; leading-man Ryan Sampson (Britten) is one of the most versatile young actors around (I loved him in the musical From Here to Eternity and his Grumio, in TV show Plebs, is one of the great comedic incarnations of my recent memory); and Wilton Music Hall is one of the most beautiful venues i’ve seen outside the West End.