Richard Brinsley Sheridan’s The School for Scandal has endured since 1777 because its satire of gossip, hypocrisy, and vanity never goes out of fashion. Lane Cove Theatre Company’s latest production, directed by Christine Firkin, embraces that timelessness with a minimalist hand — proving that sharp performances can do far more than ornate scenery.
The set never shifted: chairs and a chaise lounge with a plain backdrop lit in washes of pink, purple, green, or blue to signal a change of location. Costumes were simple but distinctive, each character marked by clear colours and silhouettes so the audience could follow the action at a glance. This pared-back aesthetic threw all attention onto Sheridan’s biting wit and the players’ performances.
And what a performance it was. Daisy Cousins stood out as Lady Teazle, bringing both uproarious comic energy and subtle facial nuance; a raised eyebrow from her could puncture a scene. Samuel Chapman’s Joseph Surface matched her precision, playing the schemer with quiet menace and expressive restraint. Together, they showed how much this production relied on nuance as well as volume.
The ensemble also shone in versatility with several performers in multiple roles. Benjamin Walsh balanced rakish charm as Charles Surface with sly gossip as Crabtree. Joyce Sharma shifted nimbly between Snake’s sycophancy, Careless’s looseness, and the reimagined Lady Elizabeth Backbite, keeping each sharply distinct. Most impressive was Phillipa Coleman, moving from the eager prattle of Mrs Candour to the sober honesty of Rowley without a hint of overlap — two utterly different figures brought vividly to life.
Trent Gardiner anchored the play as Sir Peter Teazle, sparring with Cousins in exchanges that veered between exasperation and tenderness. Ciara Briggs lent Lady Sneerwell a cool edge, while Michelle Bellany gave gravitas to the adapted Lady Olivia Surface and her disguises.
Two set-pieces defined the evening. The “auction of ancestors” became a comic highlight when portraits were played by fellow cast members holding frames and I’m wigs and hats, turning satire into playful physical theatre. Later, the famous screen scene — one of Sheridan’s great inventions — was handled with zest: Joseph frantically hiding both Sir Peter in the closet and Lady Teazle behind the screen, the deception stretched to breaking point before it inevitably collapsed.
This performance of School for Scandal shows that spectacle is optional when satire is alive. With wit, inventiveness, and a company able to juggle multiple roles without missing a beat, Sheridan’s centuries-old comedy felt as fresh as ever.
To book tickets to The School For Scandal, please visit https://www.lanecovetheatrecompany.com.au/season-2025.html.
