A Door Must be Open or Shut
King's Head Theatre
Until 24th May
This revival of the one act Alfred de Musset comedy starts with English Baron, played by Thomas Arnold, spying his neighbor, the Marquise, Jessica B. Sarrion, through the opposite window and deciding to pay her a visit. The double-hander starts slowly; the two soon enter polite discussion as the hapless Baron skirts around, perpetually flustered, trying to express his underlying feelings for the Marquise whom he has been visiting for the past year. The Marquise's wealth and beauty ensures she has many suitors but she is tired of receiving endless compliments and of the men who court her, and she renounces the very idea of love. The Baron, however, professes love remains eternally youthful despite the aging ways of expressing it.
The dialogue is sharp and witty despite the couple being continually interrupted by the sound of the bell indicating the expected arrival of company which stirs the Baron to bid his farewell and attempt to leave. No one comes, the Baron stays and the couple are left to continue their conversations which become increasingly heated leading to frank admissions on both sides. The door of the title is thus continually in flux between open and shut and becomes the fixture between escape back to safety and status quo or remaining to confront burgeoning affections. The end of this short piece comes abruptly leaving you wanting something more.
A stylized all white nineteenth century drawing room, designed by Deborah Striebig and Bryony Rumble, provides a suitably elegant backdrop for the production and allows for attention to still focus on the spoken word. Alongside Andrew Joslin’s costumes it sets the period excellently. Mention must also go to the programme which is beautifully presented and in keeping wax sealed.
The comic interludes keep you entertained but unfortunately the acting suffers from a lack of conviction, a shame as a bit more energy could have given the show real bite.
Ollie Fielding
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