Moll Flanders
July 9, 2008
Brockley Jack
8 - 19 July 2008
“When do we get to the sex part?” grunts a cast member in a grotesque voice, summing up what many have come to expect from Moll Flanders adaptations. But Brute Farce’s adaptation of Daniel Defoe’s infamous tale overcomes the titular character’s reputation, proving you can do something fresh with something well-worn, and the company makes its own fun but not too frisky mark on the somewhat notorious classic.
For those who know only of the sex and not of the story, from a young age Moll/Betty/Elisa/Louisa - whichever pseudonym takes her fancy at the time - aspires to be a “gentlewoman”. Considering she was born to a convict mother within the confines of Newgate Prison, her chances in 18th-century society are not great. Not that this stops the anti-heroine marrying and stealing her way to finery, however.
True she married five times, deserted nine children, spent twelve years stealing and whoring and ended up a transported felon in Virginia, yet no amount of bigamy, incest or thievery stops Moll (confidently and flawlessly played by Helen Barford, who also produced) being a loveable figure in Defoe’s novel or Brute Farce’s hilarious adaptation, which often side-steps the basest details of Moll’s behaviour in order to exploit the story’s more comic aspects.
Entering to the furious punk drum roll of Iggy Pop’s “Lust for Life”, the cast introduce themselves and what’s ahead. Music is used creatively throughout - shopping for lace and silk, Moll shimmies to Madonna’s “Material Girl”, for example – but, although intentions are good, when contemporary music is teamed with the 18th-century action (there’s also Girl’s Aloud, Amy Winehouse, Rolling Stones and Blondie), proceedings seem to slow down to a standstill. The Iggy-induced, unwaveringly fast pace makes moments when nothing is going on stand out like a virtuous maid.
The fact there is finely-crafted and executed invention in every scene, more than makes up for this though. The script exudes wit and contemporary gags and although it’s cheeky and bawdy there are, thankfully, fewer tired corset-ripping clichés than there are morals.
With such great material, the fine cast seamlessly morph into their multiple well-crafted and often unforgettable caricatures. Take Moll’s first conquest, Robert (Sean De Vrind) a swaggering bachelor with far-from-endearing shades of Jeremy Clarkson and James Hewitt, and backstreet midwife Mrs Doubleday, played by Jonathan Clarkson (something of a suave Rowan Atkinson) with a light stubble and impeccable comic timing.
All make genius use of an endless bank of theatrical devices, taking the audience from newly-wed’s bedrooms in London to Lancashire in horse-drawn carriages to Virginia via boat and cells in Newgate Prison using a few cleverly-placed props such as a bench, a chest and a wooden screen.
Yet another very nice touch comes before the interval when, soon after finding her first true love and fourth marriage, Moll announces: “We’re off to get drinks, we suggest you do the same.” And looking at her new husband as a wife should on her wedding night, she informs us: “We should be about 15 minutes.”
The scene, like the whole production, is cheeky, charming and very clever.
- Kerry Eustice
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We’re looking forward to Brute Farce’s Moll Flanders coming to South West Scotland during Scotland’s Homecoming year 2009. The show is booked for 3 nights in and around Dumfries and Galloway and will be well received.