I think we booked this because we had booked so little at the Orange Tree of late and because Janie said she’d never seen a Somerset Maugham play. I had to admit that I hadn’t seen one either, although I had read some years ago (and frankly had found them wanting compared with his excellent short stories).
The scenario of this play, Sheppey, Maugham’s last, is straightforward enough. Sheppey is a gentleman’s hairdresser who wins a small fortune in a lottery. The play is set when written, c1933, when the great depression was biting hard for many. Sheppey’s life doesn’t overlap much with the have-nots, but those he does encounter affect him. Sheppey has always thought himself a lucky man despite his relatively modest life; so should his charity begin at home or should he try to spread the benefits of his lucky ticket?
This simple, linear story is well summarised in the play’s Wikipedia entry – SPOILER ALERT – click here. The great Ralph Richardson played the lead in the original production in 1933. I was fortunate enough to see him perform towards the end of his career, in the Double Dealer at the National in 1978, which I shall write up on Ogblog in the fullness of time.
As always, the Orange Tree Theatre has a great resource on the production and play – without spoiler – see here. John Ramm, a fine actor, plays Sheppey in this production.
The play is unduly long, with two intervals, in the 1930s tradition of three lengthy acts. It is hard to cut such plays to one interval numbers, but this play really does labour its way through 2 hours and 50 minutes (including intervals). If Paul Miller needs to persevere with the Orange Tree tradition of early 20th century plays, perhaps he should drop the tradition of “hanging on the playwright’s every word”.
Janie and I lost patience with the piece after two acts, deciding to bail out and take our fabada and solomillos dinner at Don Fernando’s at a more civilised hour.
This is a shame, as Paul Miller deploys his excellent directorial skills on a very talented cast to bring as much life as possible out of this play. He also deftly uses Geff Francis as Sheppey’s boss and Dickie Beau as the prostitute Sheppey tries to help, without ceremony but equally without any indication in the text that the boss might be black and/or that the prostitute might be a man in drag.
Still, this is not a great play, in my view (and in Janie’s). There are reasons why Somerset Maugham’s plays don’t get revived much. They were popular pieces in their day, but tend to seem incredibly dated in style now.
In Sheppey, the characters are a bit one-dimensional and it is pretty easy to see where the story is going. Major plot shifts are foreshadowed so overtly, Somerset Maugham might as well have alerted those shifts with neon signs or tannoy announcements. So when Janie asked me at the restaurant to look up and tell her what happens in the end, there were no surprises for me in the Wikipedia synopsis – above and again – SPOILER ALERT IF YOU – click here.
Of course, the character of Sheppey made me think of my grandfather, who was a gentleman’s hairdresser at the time the play was set and written. I wonder whether Grandpa Lew ever saw the play. My grandmother (who coincidentally, like Sheppey’s wife, had been in service before they married) was dying or recently deceased around that time, so perhaps not.
But the play was set in Jermyn Street and performed at the Wyndhams, both within spitting distance of the Piccadilly Hotel where Grandpa Lew worked, so who knows? If he took my eleven-year-old mum with him, I very much doubt if her self-confessed childhood attention deficit hyperactivity disorder would have kept her in her seat for the full three acts.
