Play
The School For Scandal
A hedonistic society consumed by gossip, ambition and greed forms the backdrop for this delicious, witty comedy of manners.
Two brothers, one an amiable rake, the other a sanctimonious cad, are tested by their wealthy uncle to determine which is the more trustworthy; and crusty old fool-in-love tries to tame his feisty, much-younger wife.
Amidst the hilarity, the plots and subplots and many tangled webs lurks a cast of characters whose names say it all: Lady Teazle, Lady Sneerwell, Mrs Candour, Surface, Backbite, Snake. There is much deception, double-dealing and backstabbing but virtue wins out over vice in the end.
This production will bring a contemporary vision to an 18th century classic. Human nature doesn’t change: the foibles and desires on display in this world of hypocritical scandal-mongering are all too recognisable and make Sheridan’s satirical morality play a timeless joy.
Writer: R. B. Sheridan
Director: David Burrowes
Set and Costume Design: Isabella Andronos
Lighting Design: Alexander Berlage
28 April - 30 May 2015, The New Theatre
”You quickly realise that this production is more like an episode of a reality TV show than a play. Costume designer, Isabella Andronos, has given the characters that ‘I’m Rich But Also A Bit Trashy’ kind of look, which is typical of the latest generation of reality television stars. Miss Candour wears a leopard print skirt that could easily be something from Snooki’s wardrobe.” Alison Maher, 2015
“Designer Isabella Andronos throws up a heavy-browed false proscenium that focuses our attention very effectively. A wide gold curtain sweeps apart to reveal a sparely furnished, white box set. Periwigs and pannier skirts are dispensed with. The look and attitude is high-end Westfield Bondi and everyone under 30 arrives with mobile phone in hand, natch.” Jason Blake, 2015
“Isabella Andronos’ set and costume designs are mischievous and refreshing, adding to the Sydney theatre landscape an exciting aesthetic that is reflective of a particular generational and cultural segment. The representation of dominant social tribes is important in the understanding of our selves, and Andronos’ contribution is an acute study of the way things are, for some of us, in the absolute now.” Suzy Wrong, 2015
“The production values are excellent. Isabella Andronos’ handsome stage design is very white and very ‘now’ and the costumes aided instant character recognition,” Geraldine Worthington, 2015
”… on the straight lines of Andronos’ bright, white, set, the play moves quickly and smoothly. Scenes changes are swift, with minimalist props and colourful, carefully co-ordinated costumes making sharp statements about place and time. The opening scene typifies this. Gold curtains open and through double doors thrown open at the back Eleanor Stankiewicz as Lady Sneerwell enters. Servants bring her a tray with a line of cocaine and a cocktail, both of which she takes elegantly.” Carol Wimmer, 2015
