The Stage

Andersen’s English

Published Friday 9 April 2010 at 11:15 by Aleks Sierz

Charles Dickens is not just a Victorian author, he is also a symbol of Englishness. In this new play, Sebastian Barry evokes the world of the novelist’s household, with its celebratory feasting, music-making, picnics and expeditions.

But behind the facade of flowering family life, there is a worm in the bud, Dickens’ marriage is falling apart.

Taking a little-known incident, the two-week visit of Danish writer Hans Christian Andersen in 1857, Barry sketches out Dickens’ failing marriage, his wife’s rivalry with her sister Georgie and the kinship between Dickens and Andersen, two men who constantly mined their childhood experiences.

But Andersen’s poor use of English, which provides the title of the play, meant the two men could barely communicate, so Barry focuses more on the theme of love, Andersen’s adoration of Dickens, Georgie’s passionate devotion to him and Catherine’s terrible ordeal as she is banished from her home.

Interesting as all this is, it is also quite slender and the show needs the inclusion of Aggie, an Irish maid, for its sporadic bursts of genuine life.

Max Stafford-Clark’s production has saddled itself with Lucy Osborne’s ugly set, an ungainly clutter which allows little room for free movement, and there is little sense of ensemble playing by the actors.

As Dickens, David Rintoul is splendidly flamboyant while the decision to cast a black actor, Danny Sapani, as the gawky Andersen underlines his alienation as a foreigner.

As Catherine and Georgie, Niamh Cusack and Kathryn O’Reilly struggle at times to convince us that they are sisters, but Lisa Kerr is excellent as Aggie and solid support comes from Alastair Mavor and Lorna Stuart as Dickens’ children.

The overall impression is of a show which is a lot less than the sum of its parts.

Search Amazon for Andersen's English items Search for tickets at Ticketmaster