A Mad World My Masters by Thomas Middleton
Edited by Sean Foley & Phil Porter
Lee Farley, of Perfect Circle Theatre, writes for The Observer
This RSC/English Touring Theatre production of Middleton’s early Jacobean classic has been updated to 1950s Soho with direction from Sean Foley, well known for creating rollocking, physical comedy with an old-school emphasis on theatrical business. A Mad World is entertaining and runs at breakneck speed, but your enjoyment of the show will depend on your tolerance for old-fashioned innuendo.
Middleton’s city play is a virulent, debauched 1600s satire about sex and money. The complex plot involves two narratives – one of adultery, temptation and redemption and one of disguise, power and folly. It makes complete sense to update the setting to a jazzy, corrupt 50s Soho of thieves and whores. Sean Foley makes many more effective decisions – he’s true to the text and the constant references to sexual practice are in keeping with the original. The jokes are clear and some astute editing has spared us the more obtuse seventeenth century witticisms, but the unrelenting comedy becomes bewildering and distracts from the text and the characters, forcing them to play second fiddle to hearing aids, slamming doors, meta-textual theatre in-jokes, asides, wigs and various specimens of humorous body parts.
A live jazz band adds atmosphere and context, songs from the 50s are woven into the text and sung tremendously by Linda John-Perrie, with the cast adding verses when appropriate for their character. Dance numbers and torch songs appear regularly, adding to the already cluttered dramatic composition.
The cast attack the story with gusto, no opportunity for a sly wink to the audience is spurned and every explicit use of language in the text is spoken with relish. They’re hyperactive, driven by the momentum of the production. It’s a dynamic and redoubtable ensemble, with particular good work from Joe Bannister as the conniving Dick Follywit and Ishia Bennison as Mrs Kidman, manipulative mother of leading Soho prostitute Truly Kidman.
Middleton’s play offers moments of melancholy, clarity and reflection for the characters but this production does not allow them to breathe or take anything seriously even for a moment. I craved a scene or two where the slapstick was taken down a notch and something different was on offer. A strong final act (smartly played in Jacobean costume) contains a glimpse of profundity, but I’d like to have seen more thoughtful moments throughout the production to create empathy for the slightly one-dimensional characters.
This is an enjoyable and well performed production which could afford to occasionally take its foot off the relentless throttle of bawdy comedy and try some contrasting approaches, allowing Middleton’s subtleties to stimulate more contemplation from the audience.
