Establishing Speedy Strategies For Eating

Apr 12, 2017

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For nearly 10 years, I taught at Oxford and sometimes had men of this ilk in my tutorial group. Some were very pleasant. Many were diabolically clever (a fact that this play doesn't demonstrate enough). On the two previous London outings of this play, I have found myself feeling protective towards characters based loosely on Cameron, Osborne and Johnson on the grounds that they didn't choose to be born into wealth and a swollen sense of entitlement. I also felt the play lays into them with the kind of bitter, rollicking prejudice that they show towards others, such as the working-class character owner of the rural restaurant which they intend to trash after they have got thoroughly chateau-ed and his smart, redbrick-educated waitress daughter. I also felt that the toffee-nosed oik-speak, though horribly funny, was too relentless to ring quite true. But by giving all the roles to women in this neo-Brechtian way, this revival solves at a stroke most of those problems. It does not give the play over to wholesale caricature, but it slips the last surly bonds of realism and unveils a piece that now comes across as a biting, grotesque fable about a class that wants to reassert its brutal rights to special treatment with the exhilarating twist that the oppressors are played by a group traditionally perceived as oppressed. But if that sounds like an endeavour weighed down with worthiness, there's nothing remotely correct about the tone of the play or the production, which plunges us into the absurd traditions (one member having to wear the wig of shame), the ritualised gluttony (the massive roast of 10 birds tucked inside each other whose supposedly missing central layer sets off the violent humiliation towards the owner that was brewing from the outset).

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