Get our free email newsletter with just one click

For Love or Money review at Viaduct Theatre, Halifax – ‘ribald wordplay and mucky jokes’

Barrie Rutter in For Love or Money at the Viaduct Theatre, Halifax. Photo: Nobby Clark Barrie Rutter in For Love or Money at the Viaduct Theatre, Halifax. Photo: Nobby Clark

This Northern Broadsides production has the whiff of another era about it. It might well be set in 1920s Yorkshire and adapted from an 18th century play by Alain-Rene Lesage – himself taking his cue from Moliere’s Tartuffe – but its comic tropes and slightly retrograde sexual politics place it more in the era of Brian Rix, Ray Cooney and their door-slamming, trouser-dropping Whitehall farces.

Blake Morrison’s cocksure adaptation wrings maximum humour from the opportunist love triangle between “guinea-hungry flibbertigibbet” widow Rose (Sarah-Jane Potts) and her two contrasting suitors, while taking still timely potshots at corrupt bankers, as personified by Barrie Rutter’s vault-raiding, lovestruck financier Algy.

The ribald wordplay and mucky jokes come thick and fast, bolstered by some convincingly arcane Yorkshire dialect. But as Rose tries to exploit Algy and suave spiv Arthur (a greasily charismatic Jos Vantyler) plots with his sidekick Jack (Jordan Metcalfe, winningly channelling everyone who’s ever played Servant of Two Masters’ Truffaldino) to fleece both of them, the lack of any likeable protagonists robs the audience of anyone to really root for.

Luckily Rutter, directing his second-to-last Northern Broadsides production before stepping away from the company he founded 25 years ago, knows exactly how to work a crowd. The performances aren’t quite as slick as you’d expect – with the cast occasionally stepping on each other’s lines – but a pacy final third, some fine, if crudely drawn, comic cameos and the meticulously plotted way in which everyone gets their comeuppance makes up for the slightly reductive air to proceedings.

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price
A crowd-pleasing production that blunts the cleverness of Lesage’s original tale