All the world's a stage for Lettice Douffet, but her act as tour guide in a dull British Preservation Trust manor hasn't been appreciated by everyone. Though she wins over many an audience, Lettice (the equally winning Diana Van Fossen) isn't appreciated by purists and straight-laced listeners to her dramatically embellished versions of the House history. (We, on the other hand, find her tour de force tale-telling the height of Peter Shaffer's comedy.)
Lettice is called on the carpet by Trust bureaucrat Lotte Schoen (woman-to-be-reckoned-with Carole Monferdini), whom even her secretary (squeaky Melanie Wilson) fears. Despite a compelling display linked to an account of her maternal theatrical heritage, the elaborately costumed Lettice is fired.
When a pitying Lotte visits Lettice to suggest a job possibility, she finds a basement full of theatrical ephemera, Oriental rugs, prop medieval chairs, and trunks used as tables. Though allergic to Lettice's cat, she gets close to its owner, aided by a "quaff" using lovage, a medieval herb. Director John Going doesn't waste a moment establishing the change, and then some.
The contrasting creative actress and staid fact-fancier begin their friendship based on mutual love of English history. To counter their isolation and limited opportunities due to age, they trade strengths. But their historical re-enactments almost lead to trouble with the law. (We're thankful to the appreciation of them by Anthony Cochrane's flexible lawyer, Bardolph.)
Author Shaffer's points about the difficulties posed to women like his heroines parallel those of the fortunes of British architecture. They're points well made. But what most of us will take away from a somewhat longer-than-need-be play is pleasure in two virtuoso performances.
