Review of ‘The Devil May Care’: “Divine hell”

London’s Southwark Playhouse welcomes this new adaptation of George Bernard Shaw’s piece, exploring family discord amidst the turbulences of the Philippines’ indepence movement. Guillermo Nazara shares his views on the show, to let us know if its belligerent narrative lands onstage well-armed.

Goodness knows nobody’s inhabited by her alone. Morality is a misleading mistress that can show us a clearer path – but that’s not necessarily the right one to take. A quick look back on our past is the plainest evidence. On how many occasions have people committed the most atrocious crimes thinking of them as an act benevolence? Even our daily lives are shaped after that paradoxical reality – and the surprising fact that those who wear an angel’s mask often disguise a monstrous true appearance; and vice versa.

In a moment when political turmoil is on everyone’s lips, a play about the Philippine’s first fight for independence is certain to have the best shot with its audience. Times change, but people don’t. As much as societal conventions may be other now, it’s always the same archetype of individuals for anything involving any difference with the consolidated status quo.

Writer-director Mark Giesser does an excellent job at bringing that notion to the very front with competent subtlety. Based on George Bernard Shaw’s play, The Devil’s Disciple, his take on history flaunts a superb understanding of what a rich, thought-provoking period drama should be all about.

It has a message to convey, but it’s for you as a viewer to interpret it – and there’s enough room to see it in a way no one else would. It has a setting to introduce its guests to, but its through the individual plights of its characters that its themes are presented. And it grasps greatness in its topics by handling it through small, almost irrelevant lives.

Boasting exquisite understanding of pacing and flow of dialogue all through, the only problem stems in its lack of tonal balance. Act One is incredibly poignant – drawing out the pungency and solemnity of its story through a most climactic delivery. Act Two, on the other hand, takes a completely opposite turn – abandoning the savoury sourness of its first installment to become almost a satire of its former self.

Neither of them is better than other, though – but it’s confusing from a viewer’s perspective. All the jokes land, and the interest persists until the very end. Yet, the plot hasn’t provided any elements for such a radical shift to happen. As a result, the piece is able to compel as a whole, but there’s a minor feeling of dissatisfaction – as we’re not left with all the emotions we were promised during the show’s opening, and which seem to have been forsaken by the time we’ve sat back.

In any case, the production deserves, by far, more praise than scorn. With an adequate set design by Intellectual Propery and beautiful costume designs by Alice McNicholas, the strongest element in the montage (apart from its overall gripping writing) is its company.

Playing their parts with great flair, naturalness and magnetism, the first mention goes to Jill Greenacre as Adele Conroe, giving a most heartfelt performance exuding a relishing old-school acting aftertaste. In addition, Enzo Benvenuti makes another memorable appearance as Elias Conroe, oozing both attitude and vigour in his, all in all, engaging portrayal. Nonetheless, the highest acclaim is undoubtedly earned by Callum Woodhouse as Richard Conroe, giving such an exceptionally charismatic rendition full of ease and charm despite the questionable essence of his personage.

An enthralling, assertive examination on human principles and the absence of them, The Devil May Care sets the scene on fire through its battling narrative that, far from bringing peace to the viewer, triggers an ongoing intellectual stimulus from start to finish. With a few tweaks to be made, and if those applied accordingly, the piece has every potential to become a new classic out of the one it’s based on. It’s a most laudable first step in the right direction, but as much as the target has been spotted, it’s still needs a few extra tactics before achieving full victory.

All pictures credit to Lidia Crisafulli.

The Devil May Care plays at London’s Southwark Playhouse Borough until 1 February. Tickets are available on the following link.

By Guillermo Nazara