Samuel Johnson once pronounced that "the only end of writing is to enable readers the better to enjoy life, or better to endure it".
Charles Thomas's play about the 18th century lexicographer offers the former rather than the latter form of consolation. Moreover, it is hardly about Johnson at all. It is more of a romantic comedy about an object of affection from Johnson's youth, although it's also a buddy comedy about Johnson's friend-ship with the grandiloquent low-life poet, Richard Savage.
Thomas's story shows more flair for characterisation than theme or structure. Anyone looking for insight into Johnson's libido will therefore be disappointed. However, they may be entertained by the bedroom farce surrounding Johnson's inamorata.
Tim Heath's production might have trimmed and fortified Thomas's themes of hypocrisy and forgiveness. Instead, Heath's direction is hale and hearty, but has a weakness for cheap visual gags and misses the big narrative picture. And, talking of big narrative pictures, Cleo Pettitt's bitty design is dominated by a crude mural depicting the temptation in the Garden of Eden - which is under-exploited as the play's thematic correlative.
However, plucky performances make the play a good deal of fun. Charlie Buckland as Johnson is high-minded and proud, with a fine set of period hookers to keep him on his toes. Rebecca Blech is a manipulative Essex girl, while Nicky Goldie is a brassy bawd. These two are also nicely balanced by Laura Jones, a delicate, abandoned flower as Johnson's first and final love, Rosie.
But Miles Richardson plunders most of the plaudits as Savage. More than just inebriated with the exuberance of his verbosity, he is hammered as he proudly introduces himself as "Richard Savage. Poet and bastard." But like Buck-land's poised Johnson, Richardson is never so base as to be boorish, nor so lofty as to be priggish. The result may not have much to teach about the endurance of romantic loss, but if offers much in the way of comedic enjoyment.
Johnson In Love
