FLASHBACK: French Without Tears, Orange Tree Theatre

In 2015, the Orange Tree Theatre staged Terence Rattigan's 1936 comedy French Without Tears to critical acclaim. It was such a hit that it was revived in 2016 and then proceeded to go on a successful nationwide tour.

The story follows a group of young men who are attending a summer French school in order to pass a diplomatic exam. Their studies are interrupted by the beautiful Diana, whose systematic temptation and seduction of several members of the group causes both chaos and heartbreak. BroadwayWorld caught up with the director, Paul Miller, to reminisce about the productions and why he loves the work of Rattigan.

Despite being incredibly popular when first written, the play had largely been forgotten until Miller decided to direct it in 2015. "It was once probably one of the most famous and performed plays in the world. But it hadn't been done for so long, and I was astounded to find that people hadn't heard of it," says Miller. "People seemed surprised to hear that Rattigan had written comedies, which is ironic since, as a young writer, he'd struggled to shake the idea off that he only wrote them."

Those who associate Rattigan with more serious fare, such as The Deep Blue Sea, were very pleasantly surprised by the sparkling wit and comedic repartee of the play. The dialogue is razor sharp and incredibly funny. Miller remembers the initial shock of the cast members that the script elicited quite so much laughter from the audience. In fact, reacting to the laughter was their biggest challenge.

On one hand, it's clear why the play fell out of favour: an elite group of men gather to learn French so they can progress to become members of the diplomatic service, spending much of their time making misogynistic comments about the female characters. However, there is much more to this play. It combines an intriguing exploration of nervous British masculinity, along with a battle between the sexes for superiority - in which the women ultimately triumph. In spite of the period setting, the themes still resonate today. As Miller says, "the women know exactly who they are and that the boys don't".

Miller agrees that quite a lot hasn't changed, and that "a certain kind of education will still do restrictive things to young men, either distorting their ability to have a rounded emotional life, or giving them, to quote the first gag in the play, ideas above their station. And we're still governed by these people." The power play between the sexes is beautifully played out. "It's about women and boys," says Miller. "The truly psychologically healthy man is missing, something in an implicitly hoped-for future."

Anyone who has frequented Richmond's Orange Tree since Paul Miller has been Artistic Director will know of his love for the plays of Terence Rattigan. Miller credits the heart in Rattigan's writing more than the skill and craft. "Even his more farcical comedies, like While the Sun Shines, which we subsequently did, are still plays full of brilliantly observed emotional reality." He adds: "And his sympathy for all the people in them is palpable. Unlike some other of his contemporaries."

Miller calls the whole process of directing the play "a joy" and recalls how easy Rattigan's writing made the rehearsal process. He's "such a craftsman that it's very satisfying to do, like switching on the engine of a very fine car and driving off effortlessly: he's done all the work for you".

Not that the play was easy to stage. Miller recalls wanting to get the natural, period feel of the piece right without "it feeling heavy-handed or arch." As with any production at the Orange Tree, which is an independent theatre, money is often limited, but this does not stop the wonderfully creative sets and design that always accompany productions.

With French Without Tears, designer Simon Daw created a simple but very classic design, using the balconies of the theatre as blackboards detailing French phrases. Holly Rose Henshaw's costumes were beautifully tailored to the piece. Miller also mentions David Shrubsole's music, which he says was "ravishing" and deserves much credit.

Having seen the original production and the revival at the Orange Tree, a favourite character of mine was certainly Diana, particularly in her first incarnation played by Genevieve Gaunt. In her theatrical debut, Gaunt was quite brilliant in being simultaneously a vacuous coquette and artfully cunning.

The intimacy of the Orange Tree was perfect for this play, as it allowed the audience an insight into and understanding of the characters that a traditional proscenium theatre sometimes cannot deliver. The explorations of homosexuality and the relationships men have with each other, which may have been too subtle if played elsewhere, were tenderly explored at the Orange Tree. Miller has a particular soft spot for the character 'Babe' and his unacknowledged crush on Alan.

While we theatre-lovers are desperate to return to our seats, Miller is looking to the future. In June, the Orange Tree is due to be reviving While the Sun Shines. As Miller says: "A more genuinely funny evening I can't imagine. I can't wait." Neither can we.

Dame Judi Dench in Conversation, hosted by Giles Brandreth at the Orange Tree Theatre, will be available to stream online from 26 April for a small fee. All proceeds go to the OT Survival Fund

Photo Credit: Richard Davenport

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