Blake Morrison does a good job updating a classic play against the high expectations set by Northern Broadsides, but Turcaret maybe wasn’t the best play to work out of its original setting.
Amongst the many strings Northern Broadsides have to their bows, including Shakespeare, classics and new writing, there are the modern adaptations of classic stories, most notably those of the legendary writer/director duo Deborah McAndrew and Conrad Nelson. So it must be double-edged sword adapting a classic play into a new setting for Northern Broadsides if you’re not Deborah McAndrew. On the one hand, they’ve helped build the reputation of Northern Broadsides, which nicely translates into a big audience draw for you. On the other hand, however, their reputation translates into insanely expectations for you to live up to. That’s something I wouldn’t envy anyone for. But this is a challenge long-time Broadsider Blake Morrison took up for Barrie Rutter’s swansong.*
(*: Fine print: This was Barrie Rutter’s last touring play whilst Artistic Director. This doesn’t count his last last play at the Sam Wannamaker Playhouse. And whatever people may say at the moment, I can’t believe it will be long before he’s acting and directing again.)
On the face of it, Tucaret looks like a natural choice for a new setting. Originally an 18th-century comedy, this is transplanted to early 20th-century Yorkshire. Rose is a young widow who has frittered away her fortune in spite of the efforts for her housekeeper Marlene (which very fitting added early 20th-century Yorkshire no-nonsense). She is courted by wealthy banker Fuller (Barrie Rutter, of course) – apparently naive at first, swiftly revealed to be shallow. However, Rose is more interested in the dashing but deceitful and dastardly Arthur, bleeding Rose dry of her money almost as fast as she can get it out of Fuller. However this setting worked in the original, it’s just as good here.