The Devil May Care, which is written and directed by Mark Giesser, is an updated revival of George Bernard Shaw's play The Devil's Disciple. Now set in the Philippines, in 1899, the play concerns itself with the matter of the war between America and the Philippines as they fight for their independence. Giesser's choice to place this character driven plot in a politically and racially turbulent settings works remarkably well, leaving the play feeling even more important and relevant than before.
The plot follows many characters with ever-changing relationships, making the play even more interesting and amusing to follow. Upon news of the death of his father, Elias Conroe (Enzo Benvenuti), his mother Adele Conroe (Jill Greenacre) and half Filipino cousin Isabel Conroe (Izyan Hay), are devastated to further learn that most of the state and inheritance will go to Elias's smuggler and scoundrel of an elder brother, Richard Conroe (Callum Woodhouse). Local Vicar Mr. Paul Prestwick (Richard Lynson) and his wife, Judith Prestwick (Beth Burrows) arrive shortly after to comfort the distraught Adele Conroe and check the legality of this new will. Simultaneously, the whispers of a Philippines revolution stirs the US army into action, under the command of General MacArthur (Richard Lynson), with Vicar Prestwick being suspected of spreading pamphlets and propaganda. Leaving his wife behind, Mr. Prestwick flees, and in a hilarious yet tense twist of events, Richard Conroe finds himself being questioned.
The six member cast are incredibly talented and formidable, with each performer at the top of their game. Lynson performs the duality of his two roles with remarkable ease, with his warm and gentle presence as the Vicar, Mr. Paul Prestwick, and the short tempered and overwhelmed General Arthur MacArthur. Greenacre's portrayal of the weary, angry, betrayed, yet proud and hopeful Adele is admirable, bringing out each facet of the character with passion. Benvenuti as Elias is admirable as he conveys desperation and pride, alongside a comedic genius flair for theatrics.
Hay renders a powerful and satisfying performance as Isabel, with an earnest portrayal of her quiet yet brilliant character and a powerful impact during the character's more fiery moments. Woodhouse is captivating as Richard, playing his devilishly charm to perfection. Woodhouse's performance, along with Giesser's strong characterisation, turns Richard from an infuriating and almost irredeemably awful character into a character that audiences can't not help with sympathise with and love. Woodhouse's more mellow and angelic charm as he goes to any lengths to protect the truth is endearing and his chemistry with Burrows undeniable. Burrows, who takes on the large role of Judith, is extraordinary. Dominating any scene that she's in, Burrows brings out both the beauty and beast in a clever young woman in a patriarchal society, delivering every line with an emotional punch. Burrows' performance, alongside Woodhouse, propel this play greatly.
Between the original text and Giesser's adaptation, The Devil May Care's script is exquisitely sharp, witty and politically ripe with possibility, and this play brings out the best of it. The casual and extreme moments of racism, between the constant dismissal of the black regiment in the US army, to the murmurs of a Filipino uprising, feel even more striking with the current political landscape we reside in. The audiences are instantly taken with this movement, particularly after a moving call for action at the close of Act One, which resulted in a rousing applause from the audience.
The external war that surrounds the characters, penning them into the Conroe's house for the majority of the play, slips into the personal lives of the characters, with Elias Conroe, a young army leader. The personal dilemma that he is constantly faced with, between his duty to his family, his duty to his country and his own prejudices, explode all over the play. This constantly places the characters at odds with one another, further fuelled by internal assumptions, judgements and Richard Conroe' reputation and insistence that he is "The Devil's Disciple". At all times, there are several important plots that clash and claim main focus, which keeps audiences engaged and enthralled for every moment of the 120-minute play.
The play occurs primarily in the Conroe's House, set in the Philippines. The set, designed by Intellectual Property, pays homage to this, by keeping an American flag visible at all times, alongside a warm interior with rugs, furniture and a doorway. The set also pays homage to it's surrounding, with stunning wallpaper, that depicts nature, bursting with elegant colouring. Costumes by Alice McNicholas are authentic and gorgeous, particularly Isabel's simple dress and Judith's more formal outfit, leaning slightly into her history as a British American.
The Devil May Care is a glorious piece of theatre that educates, entertains and engages with the audience and is doubtlessly one of the treasured gems that Southwark Playhouse often produce. A truly remarkable piece that flies high.
The Devil May Care is playing at Southwark Playhouse until 1st February.
★★★★☆ (4*)
Gifted tickets in return for an honest review | Photography by Lidia Crisafulli
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