Bad
idea as it is to compete with PG Wodehouse - look what a
balls Stephen Fry makes of it - English comic writers,
understandably, can't stop trying. In the case of Rough Crossing
(1984), the writers seem more evenly matched. Tom
Stoppard has, like Wodehouse, the linguistic
meticulousness and audacity of the clever outsider. He
is also working with the same material - Ferenc Molnar's
At the Castle,
translated by Wodehouse in 1926 under the apter and more
attractive title The
Play's the Thing. In theatrical brilliance,
Stoppard has the edge, but brilliance can sometimes
over-egg the pudding. What Wodehouse gave the play, and
Stoppard doesn't, is lightness and sweetness, an
ambience not just glamorous but cosy.
There is much to savour in Molnar's reduction of
farce to almost metaphysical absurdity. Natasha, star of
a musical, is sailing to New York with its co-authors,
composer and leading man, Ivor Fish. Not realising that
the others are already on board (just a few feet away),
Natasha and Ivor play a steamy love scene on her
balcony. This seems to put paid not only to the play's
future but Natasha's - the composer, Adam Adam, is her
fiancé, and wants to walk away from both. Playwright
Sandor tries to convince Adam that the lovebirds were
rehearsing a scene; now all he has to do is invent a
context. Unlike his other works, such as Lottie from
Brest-Litovsk, "the first play to close after a
matinee", this had better be good.
Much of it, as it turns out, is divine. "Why do you
say that?" asks Natasha when Ivor reads a line referring
to "Reggie Robinsod". "Because that's the way it's
typed," he says. "I was starved of affectation as a
child," he laments. "Is that another typing error?" The
jokes arise not only from the situation but from the
eagerness of romancers to believe anything, the
willingness of actors to pretend anything, and the
hatred of playwrights for actors, and actors for one
another.
But, while the dialogue sparkles, Joanna Read's
production does everything to scuttle the ship. I had
thought, seeing Anita Dobson's Natasha a few years ago,
that one couldn't miscast that part any worse. I was
wrong. As Sandor, Matthew Kelly demonstrates benevolence
and suavity with hands on hips and rolling eyes, while
John Ramm ruins the ostensibly foolproof part of the
pushy waiter with look-at-me grimaces and an accent
never heard on land or sea. The simultaneous revival of
this and The Guardsman raised hopes for a Molnar
revival. Sadly this only reminds one that, in the title
of another pushy-waiter comedy, you never can tell.