An Ideal Husband

There’s a twinkling of stars at the King’s Theatre this week as Peter Hall’s acclaimed production of Oscar Wilde’s “An Ideal Husband” has yet another revival, this time under Mark Piper’s direction. Kate O’Mara is a rather voluptuous Mrs Cheveley, managing to drop decades off her age as the scheming would-be blackmailer. Michael Praed is Sir Robert Chiltern, a politician with a scandalous past who faces disclosure and ruin. Fenella Fielding is a rather stately Lady Markby, while Tony Britton and Robert Duncan knock verbal spots off each other as father and son, the father despairing at his layabout, playabout son.
Many of Wilde’s famous aphorisms are here, and wit and paradox are what keeps this ancient play alive. It is, in truth, rather dated, rather wordy, and extremely mannered. The themes of insider trading and political fraud are as completely relevant as ever, however, and Carl Toms stage set brilliantly captures the central idea that in such a society power is money, and money is god. A huge gold Victorian sovereign dominates the stage before each act, covering all that lies behind it, the currency that runs this whole mannered society. The other central idea arrived at by the end of the play is that people should not set one another on pedestals, but allow mistakes and be forgiving. An admirable concept indeed, but even here there is a paradox - is it right that a career started ignobly by corruption should be allowed to flourish unchecked? At the end, a completely carefree Sir Robert looks forward to even further advances in his career - tomorrow Prime Minister, perhaps? - and luncheon is served. Moral normality has been resumed.

King’s Theatre until Saturday 15th November