Fortune's Fool

Fortune favours the brave, isn't that what they always say? Well not in this case, not at all. The play, originally written in 1948, is set in rural Russia, amidst some rather wealthy estates and an array of whimsical aristocratic pride. With servants cleaning doorknobs that appear in doorways stretching all the way from Downstage to Upstage. We see Vaksa the servant, cast loving glimpses at the smiling Masha. It is a set well thought out, and the cast thrive in its nooks and crannies.

arbiturian.com (The servants seek a glimpse of the newly weds)

standard.co.uk - The ragged Kuzovkin

We find ourselves introduced to our first character, a lowly man, Vassily Semyonitch Kuzovkin. He is asleep in the linen cupboard and the obvious subject of servant humour as he emerges half-dressed beneath a huge portrait of the late master of the house. It follows that Kuzovkin himself is entitled to an estate to rival nearby aristocrats, but there are other claimants and the lawsuit has ruined him. The previous master of the house had taken him in and on his death, Kuzovkin remained, awaiting the return of his master's daughter from Petersburg, Olga and her new husband, Yeletsky.

Old Vic Theatre . com

Having cherished her as a child, Kuzovkin awaits Olga's arrival, whilst his friend Ivanov (John McAndrew) reminds him that her husband is the owner of the estate now and may well throw him out. He seems to play almost the conscience of the performance as he silently observes every word and actions of his acquaintances. His truthful eyes encourage the audience to seek their own truths in what unfolds. Kuzovkin shrugs off the warning and welcomes the blonde beauty home as servants faff and panic in excitement. We witness the rather fitting performance of a familiar face in Trembinsky, played by Daniel Cerqueira as he bosses the clearly more knowledgeable Pyotr about the stage. It seems that in the absence of genuine claimants to the estate, Trembinsky has assumed a far from humble position as head of the house. It becomes known rather quickly however, that Pyotr will be of more use to his new master. We will him to finally get the recognition he deserves.

telegraph.co.uk

Olga is a delight to watch. Her playful and kindly spirit is perfected by Lucy Briggs-Owen. She is indeed, as beautiful as Kuzovkin epxresses. The excitement she feels to show Yeletsky the house and the gardens is utterly believable as is the physicality that she holds. Her need to travel across the stage in excitement and then return across it to take her husband's hand, reflects the conflict that her desires and personality beholds - something that later will prove important.

whatsonstage.com

The play is very much a play of two halves. We watch as Kuzovkin allows himself to be carried away with the day's events. He is invited to dine with Yeletsky and proud local landowner, Tropatchov and his right hand man, 'Little Fish'. Unbeknown to him, this becomes his downfall. Tropachov is played brilliantly by Richard McCabe. His royal gesturing arms and aristocratic shoulders portray a character completely over-indulged in his own royalties. His booming voice and constant interruptions show that this man has no time for the 'lesser men' he finds himself among. McCabe is wonderful and his presence is much anticipated in both halves. As Kuzovkin tells the tale of his right to his estate, it becomes apparent that Tropatchov despises his very presence and the poverty that he represents. He turns his hand to getting Kuzovkin drunk - so drunk that he falls over and makes an utter fool of himself. He cries at being made a laughing stock, being asked to sing for his supper. The climax of our first half comes when he announces in absolute drunken distress that he is - wait for it - Olga's real father. Patrick Cremin, does a fantastic job as the understudy. We feel his humiliation vividly and only wish it to end for this poor man, who simply will not stand up for himself.

As well as this scene goes, it does seem a little odd that Olga is not present at the table, having only excused herself to get changed. Is it a fitting return for the lady of the house to dine alone in her bed chamber? Perhaps a plot-hole that needs to be filled in its next West End appearance.

The marvellous set design by William Dudley

As the lights come up, for the second half we are faced with a dazzling set. Yeletsky appears and informs Olga that Kuzovkin is leaving. Alarmed she begs with her husband to allow her to speak with him alone one final time. After much deliberation, he gives in. Kuzovkin enters nervously and perches on the sofa. It becomes apparent quite quickly, although not quickly enough in my opinion, that olga overheard Kuzovkin's revelation that he is her father. She asks him to tell her the truth. It is frustrating to watch as he holds back and tells her it was a drunken lie. A second later he is persuaded to admit the truth to Olga - he is her father. This scene, as frustrating as it is, is a delightful one to behold the skill of these actors. As Olga takes in the shock and Kuzovkin allows tears to roll freely down his cheeks, we see here exit to her room. Yeletsky enters to speed things along.

independent.co.uk

Alas then, who should enter but Tropachov. As Yeletsky invites them to explore the gardens, he remains with Olga and Kuzovkin to attempt to pay him off and let him leave. Our cold husband from Petersburg may be doing the right thing to keep the estate running, but is it right for his dearest wife? This harsh yet loving nature is brilliantly held by Alexander Vlahos. Kuzovkin finally takes the cheque when Olga herself returns to persuade him of it. Tropachov returns to the room as Kuzovkin is invited to say some final words. Some snide comments thrown in the direction of Tropachov go down well. With a shaking of hands with 'Little Fish' who is obviously in a similar position to himself, he leaves. With some harsh intakes of breath from Olga as she holds back her sobs, it forces her to hide away and once again retreat to her room.

discounthteatre.com

It is unfulfilling as an ending. Are we supposed to feel happy that the fool finally got his fortune? Or are we distraught that Olga may never know Kuzovkin as a father? As unfulfilling as it may be, we are at least glad that Kuzovkin gets to have his own words with Tropachov. A talented cast and a play not at all affected by the absence of Iain Glen as our fool. Perhaps my only criticism is that Olga had no reason not to be at the dinner where this all begins and that, as she is not present. The second half needs us to assume quicker that she has overheard. For example, the lights come up - Olga goes into the study, shuts the door, takes in the information she has heard and then flees to her room. Then we return to the scene as it happened. I believe it would have taken the audience into her mindset quicker, as we watch her toil at pretending to her husband that she does not know of the previous night's events. However, with nothing else to criticise I feel it was a night at the theatre well spent. The theatre is a beautiful one too.

I hate to say it - but there is undying need in my head to do so - You'd be a fool not to see this play finally gain West End recognition.