“The Circle is an entertaining family drama that begs for an answer to the question: “What is true happiness to you?””
The lights dim. A man walks towards the mysterious object placed at the centre of the stage, whipping off the cloth to reveal a rustic yellow chair. He sits on it, signifying the start of The Circle. Brought about by Theatre Royal Bath Productions, this short play revolves around the family of Arnold Champion-Cheney, a high-strung politician with a no-nonsense attitude brought about by his traumatic family past; he was abandoned by his dear mother, Lady Kitty, at the mere age of five years old, in the name of “love” for his father’s very best friend Porteus. Thirty years later, an unexpected family reunion occurs within Arnold’s home, and everyone is forced to navigate this tumultuous situation while attempting to address a new elephant in the room – Arnold’s wife Elizabeth has developed feelings for his best friend Teddie Luton.
Set in a lavish English country house, the characters spend their time in pure bliss; sitting next to lovely windows that oversee the exterior lawn and reading on chairs located on each side of the supposed living room. Each piece of furniture was meticulously placed, and any change would immediately rouse the irritation of Arnold. Having been raised under the notion of being abandoned, it is hard not to sympathise with his stoic behaviour, as he constantly needs to be in control to feel any sense of safety. It does not help that Elizabeth appears to be completely infatuated with Lady Kitty’s scandalous decision to leave the comfort of a family in search for a life full of thrill and uncertainty. Despite this, the audience is constantly subject to subtle emotional shifts – are we meant to side with the one who has endured so much and was somehow able to finally secure some form of stability; or are we meant to support the woman who was willing to break free from the dull life of a politician’s wife to achieve freedom that is true love?
What is impressive about this play is the lack of special lighting or dramatic sound effects – the story itself is simple but manages to engage the audience effectively and thoroughly. Not to mention, this is also supported by a truly stunning cast – all involved actors and actresses were able to embody their characters perfectly, leaving deep impressions within the minds of the audience. While the performances of the renowned Jane Asher, Clive Francis, and Nicholas Le Prevost, were no doubt captivating, they were able to share their spotlight alongside the others. I was truly impressed by Pete Ashmore as he commanded my attention throughout his scenes as the troubled Arnold, and it was not long before I found myself hanging on his every word.
As an overview, it was a light-hearted watch with a touching ending, nudging the audience to reflect on the true nature of happiness and love. As Lady Kitty states, “The tragedy of love isn’t death or separation. One gets over them. The tragedy of love is indifference.”
The works of Somerset Maugham remain to be an absolute delight, and I look forward to more screenings of his various novel adaptations in the Oxford Playhouse.