Machinations of master and servant

Simplicity, Orange Tree, Richmond

This is quite a theatrical find. In Simplicity by Lady Mary Wortley Montagu, an 18th century poet and letter-writer who in maturity fell for an Italian half her age and took him away to Europe, you catch distinct stirrings of feminism.

Lady Mary conceived an English equivalent of Marivaux's Le Jeu de l'Amour et du Hasard, in which the well-born heroine, Bellinda, takes control of her own life, seeking to ensure her would-be-husband, Gaymore, is seriously prepared to marry for love not money. "I will not marry but to a character I can esteem," declares Bellinda, whom attractive Octavia Walters plays without conveying enough of the character's suppressed sexual excitement.

The comic potential of the situation, quite well realised in Auriol Smith's traditional production, depends upon the ramifications of two ingenious tricks. Bellinda's father, Sir John, knows Gaymore is coming disguised as his own footman, while the footman will impersonate his master. Without revealing this stratagem, Sir John, whom Terrence Hardiman needs to take down a few decibels, persuades Bellinda and her maid Lucy to swap identities as well. The scene is, therefore, nicely set for a neat comedy of class transgression and social and pyschological manners. Gyuri Sarossy's handsome Gaymore, posing a little too suavely as his own footman and with an inconsistent accent, is disconcerted to find himself falling for the woman he thinks a mere maid.

With equal disquiet, Bellinda finds herself attracted to the man she believes is just a servant. Rebekah Staton's Lucy, who gives herself an amusing repertoire of airs, graces and smart vocal tones, delights to see the pretend Gaymore (Tom McKay) jovially smitten.

Smith's enjoyable production, decorated with harpsichord music, flamboyant wigs and the odd fluttering of a lady's fan when emotions run high, holds the attention. But it could do with more psychological and comic pointing. Sarossy and Walters ought to be more stricken with guilty, erotic desire. And when the plot becomes nicely complicated by Gaymore's revelation of his true identity to the woman he believes is the maid, there ought be far more relish to Bellinda's feminist score-settling. Simplicity does, however, display a timeless appeal.

Simplicity