Gustave Flaubert’s most famous work, Madame Bovary, made him one of France’s most celebrated 19th century writers. A trial on obscenity charges arising from the novel created a scandal that raised the novel’s public visibility. Orlando Figes’ debut play is not about that period of Flaubert’s life but looks instead at what happened to him after his fortunes dwindled, an investment into the sawmill of his niece’s husband crashed, and his work came to all but a standstill. Figes (a renowned historian of Russian and European History) takes his material for the play from a series of letters written between Flaubert and members of his literary circle, along with other historical records. Flaubert’s close friend was the celebrated Russian author, Ivan Turgenev, with Emile Zola, the youngest member of the literary set and George Sand, champion of women’s rights, who took a male pen-name and frequently dressed as a man, often joining him for champagne and oysters as they discussed life and literature and their place in the world.
Figes’ play is not simply rooted in the past but resonates in today’s world where art and commerce are inextricably linked. Flaubert rails against pretty much everything, the government, the press, the critics, the bourgeoisie, anything in fact that he doesn’t see as “pure art”. The uneducated public, he says, should not be allowed to vote, and writers should not become celebrities. This, he feels, would lead to untalented people becoming famous while the gifted starve. He pushes back against suggestions that he should find paid employment and refuses to promote his writing to encourage sales. He feels his work needs to speak entirely for itself unsullied by the marketing tactics used by Zola. With Flaubert taking an anti-commerce stance and Zola seeing the need to accept progress, Turgenev and Sand act as moderators, along with Caroline, Flaubert’s niece, who try to persuade him to accept the reality of their perilous financial situation, which no longer runs to dining on champagne and oysters but has reduced them to table wine and fish paste.
The cast are excellent. Bob Barrett plays Flaubert as a mess of self-absorption and occasional melodrama. He dominates the action in his long tatty coat as he gradually descends towards penury and despair. Giles Taylor is a calm presence as Turgenev, while Peter Hannah’s Zola is bold and brash and somewhat annoying, prepared to accept change. George Sand (Norma Atallah) could have been a stronger presence in the narrative, as she was in life, here staying rather too much in the background.
Isabella Van Braeckel’s set is gorgeous, initially evoking a still-life painting, the table set for dinner, the backdrop a blurred-out mirror, like a Zoom filter, so you can’t quite see what’s there other than in glimpses. With a few deft removals of panels, this becomes a window over Paris and later the view of the countryside. It’s all cleverly done and well-choreographed so that the set changes don’t overly interrupt the action.
Directed by Philip Wilson, The Oyster Problem is billed as a “hilarious comedy”. The amusement is sparse though and mostly comes from occasional bawdy and scatological humour. This is more a drama that resonates with modern-day issues and throws a fascinating light onto a famous author’s life. As to be expected from an eminent historian, the work is clearly meticulously researched, and Figes definitely has a future as a playwright.
The Oyster Problem plays at the Jermyn Street Theatre until 4th March. Tickets (but no oysters) are available from: https://www.jermynstreettheatre.co.uk/show/the-oyster-problem/
Reviewer: Carole Gordon
Reviewed: 14th February 2023
North West End UK Rating: ★★★★