“A glorious mix up of a family drama and wit”
The Devil May Care is currently showing at the Southwark Playhouse. Based on The Devil’s Disciple by George Bernard Shaw, it has been directed by Mark Geissler.
Originally set in 1799 during the American Revolutionary War, this adaptation updates the play to 1899, amidst the American occupation of the Philippines. The change highlights a lesser-explored period of history, making powerful statements on colonialism, patriotism, and national identity.
We’re first introduced to Mrs. Conroe (Jill Greenacre), an overprotective mother all too happy to remind everyone that her youngest son went to Harvard. Her son Elias (Enzo Benvenuti) is eager to prove himself in the army, fanatically patriotic, and devoted to being a soldier.
The third member of this trio is Isobel (Izyan Hay), Mrs. Conroe’s niece and half-Filipino. She’s not afraid to speak her mind and must navigate the challenges of being mixed race within her white family during this era.
The first sign of trouble comes with the news of Isobel’s husband’s death, setting in motion discussions of inheritance and a contested will. Tensions rise further when the black sheep of the family, eldest son Richard Conroe (Callum Woodhouse), arrives with an updated will and a claim to the house and assets.
Richard is a smooth-talking, morally ambiguous character who proudly embraces the title of “Devil’s Son.” He revels in pushing boundaries and shocking those around him, particularly Mrs. Prestwick (Beth Burrows), the wife of the local priest, who serves as an excellent foil to his devil-may-care attitude.
The central conflict arises when the army arrives seeking to arrest Mr. Prestwick but instead finds Richard, who has been loudly proclaiming his own devilish nature. The play then explores a key question: why would a man with such immoral pretensions make such a profound sacrifice?
The set design makes excellent use of mismatched colonial-style furniture, cleverly rearranged to create different scenes. The intimate space of the Southwark Playhouse is well-utilised, while the costumes, with linen suits and Edwardian silhouettes, effectively evoke both the historical setting and the tropical heat of the Philippines.
A final commendation must go to the cast, who work seamlessly together, handling witty dialogue with ease. They build tension effectively and break it when needed, ensuring a thoroughly engaging performance. Overall, The Devil May Care is a thought-provoking production that leaves the audience with plenty to reflect on and discuss long after the final curtain.
The Devil May Care is at the Southwark Playhouse until the 1st Feb. Tickets here