Review: The Devil May Care, Southwark Playhouse
[review]
The very title of Mark Giesser’s play teases us with the suggestion that the devil is either not all bad, or at least may be subject to change and redemption. Writer and director, Giesser, has adapted The Devil’s Disciple, by George Bernard Shaw, with skill and creative invention. It rattles along, exploring themes of family and societal conflict against a backdrop of colonial oppression, where love and loyalty, faith and ideology come under strain. The play is set on a small island in the Philippines which has been passed between empire makers, the Spanish and the British, and is now controlled by the USA.
Talk from the senators, law makers and law enforcers who seek to bring the locals enlightenment, in religion, in social mores and in institutional structures, is peppered with casual racism and misogyny. Of course, the humorous irony is exposed as we see the characters’ deceit, prejudice and desire for self-advancement at all costs, and the cast capture the fun of all this confusing hypocrisy. Supposedly good intentions are often shallow and morally dubious, while family reputations have bonds that are easily fractured as soon as money and status are in question. In short, what may appear to be good is not always the so, and certainly what or who seems to be bad, is in doubt. Against the backdrop of revolution, filial duty, ideology and sacrifice are explored, and Giesser ensures we are provoked and amused in equal measures. This is a play not only with heart but head too!
A strong company entertains their sharp delivery, and Richard Lynson playing a range of contrasting roles, is particularly impressive; whether as a dynamic politician or a pious priest, he captures the conflict between head and heart. Spreading the word, whether of God or the President is clearly not without consequences. The devil, at least by reputation, is played by Callum Woodhouse and his relaxed, louche, confident delivery, along with his affable, twinkling personality is very entertaining as he manoeuvres between self-interest and altruism. This paradox captures Shaw’s idea of how sacrifice can come from where you might least expect it.
Family tension appears like a microcosm of society, with its rules, expectations and dominating forces. The mother of this fractured family is driven with unerring self-interest and is played with vigour by Jean Greenacre. Her drive comes from trying to secure her fair share of any spoils and this serves to illustrate the lack of status and power that women had at this time. The mixed heritage cousin, portrayed with spirit and delicacy by Izyan Hay, is not expected to have a voice, as her very presence is a reminder of the colonialists’ hypocrisy and sexism. Similarly the female lawyer (Beth Burrows) is begrudgingly allowed the floor by the men, to deliver a strong defence of the accused ‘devil’, while Enzo Benvenuti, the conflicted and dishonest soldier, barks and bawls at those around him with gusto. All this is cloaked in process and administration, but are we really expected to think that these are the virtues and behaviours we should wish to impose upon the colonised?
The production is entertaining and swiftly moves through a range of complex issues with style and verve. It is a thought provoking and engaging evening that does not disappoint.
Written and directed by: Mark Giesser
Costume Design by: Alice McNicholas
Lighting Design by: Sam M Owen
Set Design by: Intellectual Property
Produced by: Alces Productions
The Devil May Care plays at the Southwark Playhouse (Borough) until Saturday 1 February. Further information and bookings can be found here.