NORMAN: Stephen Mangan plays womanizing Norman in Alan Ayckbourn’s terrifically funny trilogy “The Norman Conquests.” (Joan Marcus)
The Norman of the title is a man, a compulsive lothario (Stephen Mangan). He means no harm, he just wants “to make women happy”—be they married, unmarried, it makes no difference to him. He is married, to the ostentatiously near-sighted Ruth (Amelia Bullmore). Ruth is the sister of Reg and Annie.
Three couples are involved on this particular July weekend in a Victorian house not far from London. They are all related, either by blood or marriage, except for Tom the veterinarian.
“The Norman Conquests” actually consists of three separate plays, to be seen at three different times. However, it is not necessary to see all three, unless one is able to and wishes to be convulsed with laughter on three different theatergoing occasions. If one can see only one or two of the plays, that’s all right too.
The plays may be seen in any order, although it is perhaps more useful to see them in order: “Table Manners,” “Living Together,” and “Round and Round the Garden.”
Stephen Mangan (standing), (and clockwise) Ben Miles, Amanda Root, Jessica Hynes, Amelia Bullmore, and Paul Ritter in “Table Manners,” one of the three plays in Alan Ayckbourn’s “Norman Conquest.” (Joan Marcus)
In “Table Manners,” we are introduced to the characters. The overworked Annie (Jessica Hynes), the unmarried daughter of the family, cares for her ill, never-seen mother who lies bedridden upstairs. Annie has been involved for about 10 years with Tom (Ben Miles), a pathologically shy veterinarian. He just can’t bring himself to pop the question, but prefers the company of his four-legged friends. A cat marooned in a tree presents a glorious challenge for Tom.
Reg (Paul Ritter), Annie’s brother, is an estate agent who is very involved with his work; he is married to the stern, moralistic Sarah (Amanda Root), who continually sets about preserving order, and preventing much fun from taking place, like seeing to it that Annie does not go off on a clandestine weekend with Norman.
Then there is Norman himself, an assistant librarian. He is unconventional and somewhat silly, but possesses a kind of irresistible charm, like an unkempt puppy. He justifies his often loose, or attempted loose, behavior on the grounds that wife Ruth brings her work home with her and never has time for him. In fact, in the first segment, Ruth, busy at home in London, does not make an appearance until somewhat late in the proceedings, and then spends much time looking for various items in the room without her glasses. Given her challenged vision, this makes for hilarious physical contortions.
Each play features one or more segments with a powerful, almost slapstick component that brings the audience close to hysteria. One such moment is Ruth’s battle with a folding chair in “Round and Round the Garden,” in which the chair momentarily wins out. Then there is a bit where two men embrace each other and roll about the lawn together, but it’s all in fun.
Ayckbourn’s razor-sharp dialogue repeatedly hits the mark, but what is even more important is that the characters’ relationships often have a poignancy underlying the almost farcical surface—for example, Annie’s 10 year “engagement” to Tom. Now really, is that a firm commitment? Is she expected to be faithful? Is it right for spouses to be married to their work, and thus shortchange their relationships with their mates?
With the original cast, directed by Matthew Warchus, brought over by The Old Vic from its acclaimed run in London, the players are all in top form, with a great ensemble sense. Staged in the round at Broadway’s Circle in the Square, just about any seat location is fine.
Sets and costumes by Rob Howell and lighting by David Howe support the hijinks.
The Norman Conquests
Circle in the Square
1633 Broadway at 51st Street
Tickets: (212) 239-6200 or www.telecharge.com
Running time: 2 hours, 15 minutes (each play)
Closes: July 25
Diana Barth writes and publishes “New Millennium,” an arts journal. For information: diabarth@juno.com. She also reviews for TotalTheater.com
