SCHIPPEL
THE PLUMBER by C.P.Taylor
Based on Buerger Schippel by Carl Sternheim
Venue: Watford Palace 1998
Directed by Fiona Laird
Based on Buerger Schippel by Carl Sternheim
Venue: Watford Palace 1998
Directed by Fiona Laird
| Jenny | Susannah Elliott-Knight |
| Ursula | Anna Farnworth |
| Hicketier | Luke Williams |
| Klee | Anthony Venditti |
| Wolke | Michael Winsor |
| Schippel | Brian Shelley |
| The Prince | David Bark-Jones |
Review: The Stage
CP Taylor’s version of Carl Sternheim’s 1912 class comedy seems fairly anodyne in Fiona Laird’s production. Taylor, surprisingly for a staunch socialist, attenuated Sternheim’s social satire about an amiable prole invited to join a bourgeois vocal quartet, while the group leader’s sister is clandestinely pursued by the feckless local princeling. Consequently, without impeccably judged casting, direction and performance, it runs the risk of coming over as no more than a comfortable diversion. Such is the case here at the Palace.
Brian Shelley’s Schippel rubs along well enough, although without ever provoking the phrase ‘rough diamond’. His tenor voice, too, is serviceable, while scarcely of a calibre to elicit such raptures from his ‘betters’. Luke Williams as the quartet leader Hicketier, goes in for a fair bit of Basil Fawlty frustrated-cringe business, pulling the teeth of his character’s snobbery by turning it into comic psychosis.
Anthony Venditti and Michael Winsor provide a pleasing elephant and mouse double act as the other two singers. The subplot is better served by the urban languor of David Bark- Jones’ Prince and the usual self-assurance of Anna Farnworth’s Ursula, but this strand of narrative is left dangling, not so much resolved at the play’s end as tucked out of sight.
The quartet sings lieder agreeably enough also (Laird also having arranged the numerous musical interludes which the script calls for), but in the end the production neither stirs the depths musically nor theatrically. Ian Shuttleworth.