Wodehouse In Wonderland was reviewed at the Churchill Theatre, Bromley. The tour continues until
Star rating: five stars ★ ★ ★ ★ ★
PG Wodehouse, or Plum as he was nicknamed, filled my parents’ bookcase, but somehow passed me by. The existence of films, plays and TV series and even an Andrew Lloyd Weber musical hovered on my periphery, but never penetrated my reading habits.
William Humble’s one man play written for actor Robert Daws opens on a set of living room/office/bar depicting his American home on Long Island where he lived for the last 20 years of his life. Ethel his wife, nicknamed Bunny, is in bed offstage and the Pekinese dogs are in the garden outside the large window, waiting for walkies.
A young man called Phillips telephones to cadge an interview, his intention being to write a biography. Feigning reluctance but secretly flattered, this instigates a series of conversations about Wodehouse’s writing habits and his writing influences. ‘Plum’ debates the wisdom of wearing a new hat with a pink and blue feather, and what Jeeves, the fictional butler who is possibly his best known creation, might consider appropriate.
It’s all rather genteel and reminiscent of Wodehouse’s favourite era, between the 1920s and 1930s. You wonder how this eccentric fare might land in the 21st century, with audiences not familiar with Wodehouse’s world, but Daws draws you in with his characterisations, his charm and his lovely singing voice. Yes there are songs, because Wodehouse was a competent lyricist and collaborated with Guy Bolton on many pre-war musicals as he flitted back and forth between Britain and the USA. ‘What d’ye mean you lost yer dog’ was a hit for Bing Crosby and any fan of musicals will recognise Cole Porter’s ‘You’re the Top’, though may be unaware that Wodehouse adapted the lyrics for the London production, anglicising them, as he did with Anything Goes.
As Wodehouse’s world of eccentrics weaves its magic, we enter the world of Lord Emsworth and Blandings Castle, and his prize sow the Empress of Blandings.
The second half of this 90-minute play digs deeper into Wodehouse’s relationship with his adopted daughter Leonora, nicknamed Snorky, and the events of the Second World War. Living in France for tax purposes, Wodehouse was interned in a castle in Upper Silesia for several months but was released to live in Berlin at the Hotel Adlon, where he was persuaded to make five broadcasts to America. This he did with his characteristic humour, but when they were subsequently broadcast to Britain, it caused a sensation and accusations that were wounding, prompting Wodehouse to leave for America, never to return to Britain.
Daws is a consummate actor and by the end of this production has you in his spell, and Robin Herford’s direction keeps it moving along on Jason Taylor’s set. Wodehouse fans will warm to the conjuring of familiar characters. Of course, with an output of over 90 novels, short stories and many musicals there are omissions, but Jeeves, Bertie Wooster and Madeline Bassett his girlfriend, and the Empress of Blandings whom I recall from a lurid dust jacket in that childhood bookcase, are all brought to life. There are those who may one day find a subtext in these confirmed bachelors and their valets and man servants, obsessive aunts, the clothes and male bonding, but here we get them as written.
Coming to an end with the songs ‘Someday Waiting Will End’, we finally get to see the infamous hat, and a rendition of ‘Oh Gee! Oh Joy!’
Wodehouse was considered flippant by many critics, but a writer of comic genius by others. As we headed out into a cold night, Humble and Daws had warmed our hearts with this tribute to his talent and enduring creations.
Leon Ferguson
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