The LibertinePresented by: Sedos
The Bridewell Theatre, Bride Lane, Fleet Street
02/03/2010 - 06/02/2010
*An Invitation into the Debauched World of the Second Earl of Rochester
Defiant, morally unrestrained, dissolute, and promiscuous, the second Earl of Rochester was as well known for his dalliances in Restoration England as he is today. Based on his life and poems, Stephen Jeffreys’ “The Libertine” explores some of Rochester’s more controversial years and, in particular, his affair with the actress Elizabeth Barry. Playing at the Bridwell Theatre through Saturday, March 6th, Sedos’ production takes an unorthodox approach to this story of a highly unorthodox man.
The thing that makes reviewing “The Libertine” so difficult is that it truly is a tale of two opposing acts. Act One, despite some issues, is an overall enjoyable experience. The acting, from Luke Trebilcock as Lord Rochester in particular, is very good, and the action moves ahead at a comfortable pace. The use of the Grotesque Chorus in demonstrating bits of back-story is clever, and unique choreography by Leigh Tredger and Angus Jacobs allows the chorus to transition effortlessly from individual entities into one concise unit. Still, the highlight is the playful, satirical humour that courses through the first half and is at its finest when Rochester, Sebastien Blanc as George Etheredge, and Mark Macey as Charles Sackville share the stage. Rebecca Weymouth’s fine portrayal of Jane is also of note. Add to this the palpable chemistry between Rochester and Brooke Peterson’s Elizabeth Barry, and it is possible to overlook the often too gratuitous and overt sexuality that permeates the piece.
Of course, this is a play about the second Earl of Rochester, England’s precursor to the Marquis de Sade, and one expects a certain level of debauchery. Stephen Jefferys has rightly filled his text with sexual references, and there should be little doubt when booking tickets of what is in store. However, where this production errs is by removing itself from the 17th century setting and attempting to use a combination of period-inspired text, New Romantics style costumes, and a heavy metal soundtrack to uncover modern-day taboos. The problem with all of this is that it is no longer 1672, and attitudes regarding sex have had a major shift. Instead of confronting the audience with its subject matter, the production tries too hard to shock them and in doing so it risks predictability. Meanwhile, with nearly every other character on staged equally or more debauched than him, Rochester ends up looking tame by comparison.
It is with the second act, though, that the play needs the most improvement. With all the energy and pacing of the first act forgotten, the second drags on endlessly. This seems to be partly a textual issue, as Act Two deals with heavier emotional material and thus loses some of the playful cynicism of the first. Rochester is also dying, something that the programme notes and historical accuracy have set us up for, but watching him struggle and wince for over an hour while his friends cry around him is exhausting. Tighter cues between lines and more greatly varied emotional levels would better serve to keep the audience’s attention. As it is, “The Libertine” is recommended for a handful of standout performances and some nice moments in the first half. 3 Stars.
Playing through March 6th at the Bridewell Theatre on Bride Lane, Fleet Street. Review written by Megan Hunter for Fringe Review: www.fringereview.co.uk.
