REVIEW: SUDS Presents "Relative Values"

By Sylvia Lee

The upper-crust Earl of Marshwood returns home with his glitzy Hollywood megaceleb fiancée. What could possibly go wrong? A lot, apparently. 

At first glance, SUDS’ revival of Noël Coward’s 1951 play “Relative Values” may seem like a dated production — after all, it fixates on seemingly bygone values that the upper echelon cling to —, however, it proves to be much more than that. Though unashamed depictions of old money elitism tend to elicit an immediate eye-roll, “Relative Values” hits the sweet spot of satire by juxtaposing two extremes. The clash between upper-class British snobbery and the brash, nouveau riche style of American stardom prove that both are equally as intolerable and theatrically, makes for some good laughs. 

The premise is fascinating, albeit difficult to follow at times. “Relative Values” takes us back to the early fifties, when it was socially acceptable to make WWII jokes about “the Japanese” and the worst sin of all was — shock, horror — marrying beneath one’s station… Set in East Kent, England, the play centres on the privileged Marshwood household, whose posh equilibrium is horribly thrown out of kilter when the heir, Nigel Marshwood, returns with his fiancée, Miranda Frayle, a histrionic Hollywood superstar. This disappoints Countess Felicity Marshwood, his artful mother, and prompts her personal maid, Moxie, to suffer nothing less than a midlife crisis, because this so-called Miranda Frayle is none other than her estranged sister! Basically, loyalties are tested, secrets revealed and dreams crushed, no biggie. Wait, I thought this was a comedy?!

The director and production team should be commended for bringing the Marshwood estate and its intrigues to life in the limited space of the Cellar Theatre. I was impressed by the beautiful period set design, the lavish costumes, the wit and creativity that brought it all together. The DRAMA and satirical humour was carried by mostly strong performances, which made up for the overly-long run-time and occasionally unconvincing accents (although this could be attributed to opening night hiccups). I fondly recall the “metamorphosis” of Moxie’s once-meek character, whose dramatic outbursts were wildly entertaining; the amusing dynamic between Felicity, who is striking in her elegance and cunning, and Miranda, whose melodramatic monologues had the audience in tears; butler Percival’s sardonic witticisms and the interlude scenes in which he and his staff demonstrate how terrible they are at their jobs…

To truly appreciate this play, it’s useful to view Marshwood estate as a microcosm for the world at large, which must constantly brace itself for the Next Big Thing that will test the Status Quo. It forces us to make connections with our own times and to consider, for instance, the cult of celebrity in our #instagood era of giving way too many fucks about the Kardashians. Which is really the better alternative? And have we really moved past fixations on status and ‘origins’?

The final performance of “Relative Values” takes place tonight. It is not to be missed! 

Pulp Editors