A farce in the wind

Pinero’s The Magistrate is a classic of 19th Century farce. It concerns a woman with a son from a previous marriage, who has to conceal her real age from a recently acquired husband, the magistrate. This means a 19 year old son, along with everyone else, are convinced he is actually 5 years younger than he is. Through that deceit, the farce brought all the characters together to a supper room where they were found contravening the licensing laws by the police. The subsequent fallout concerning reputation and social standing occupies the last two acts with a few romantic storylines thrown in for good measure.

As Victorian farces go, it was a pretty standard affair. Although consistently funny, it was hardly laugh-out-loud. Considering this was only put on as a replacement for the cancelled The Count of Monte Cristo, one can understand why this may not have been a polished performance, but there was sufficient magic to create an energetic, colourful, uplifting and funny production, that they managed to achieve a delightful result.

The set design, by Katrina Lindsay, was dramatic. The opening scene unfolded like a giant pastel coloured pop-up book with characters magically appearing from the folded pages. There is the hint of a Christmas tree on one side of the stage to remind us this is the National’s Christmas production and a little caption beginning with ‘the skeleton in the closet’ at the top of the “page”, which comprised the first scene. Subtle it is not, but along with all the skewed angles of doorways and windows the set design suited the caricatured characters throughout the play; from the man-child son, to the gloomy magistrate’s assistant.

This caricatured theme continued with a fusillade of jokes delivered with a knowing nod-and-a-wink. Scene changes were interspersed with 19th century operetta-style numbers which summarised the storyline with wit and smallh John Lithgow playing the magistrate; the highlight a superb solo scene where he recounts a chase, playing everything from the police to a horse. If there was ever a master-class in one-person theatre, I would nominate this scene.

Joshua Mcguire, as the son of a confused age, was superb, showing the perfect balance between precociousness and prescribed childishness and the natural urges of a grown man.

The direction by Thimothy Sheader was tight and kept up a pace and energy. My only criticism was a slight dip in the middle of Act 3 but it soon gave way to a frantic final act.

This was theatre production at its very best: bringing superb direction, acting and production design together. There will not be many productions out there to brighten up the dark winter nights ahead as accomplished and satisfying as this.

The Magistrate at The National Theatre. Until 22nd January 2013.