“Play Without Words,” the new creation of Matthew Bourne, says it all through movement and dance. This remarkable production at the Ahmanson Theater is full of surprises, all of them good. Using the theme of the disparity in the English social classes, a popular plot of ’60s movies, Bourne has fashioned a comedy/drama that requires little hard thinking to follow the story, although not a word is spoken. The creator of the all-male “Swan Lake” and far-fetched “Car Men” hits his stride here and achieves a successful amalgam of narrative and footwork.
Checking the program, one finds the main roles are tripled or doubled. This sounds confusing, but the device works wonderfully in the context of the plot. Not to give too much away, the multi-cast roles allow for intricate choreography and unusual formations.
The main character (or characters) is (or are) Anthony, a wealthy young socialite who is moving into a posh new apartment in Chelsea. He has a snooty fiancée, Glenda, who is an Audrey Hepburn look-alike. The villain of the piece is the servant, Prentice, who is a subservient toady as the play begins, but becomes the lord and master as Anthony becomes completely subdued.
The acting is as impressive as the choreography, and each member of the cast knows exactly how to express his or her social position. A highlight is the scene where one Anthony is being dressed by Prentice while another Anthony is being undressed.
Because it is difficult to know which is which and who is who in the cast, we will just list the actors and say they are all wonderful. Anthony is played by Sam Archer, Ewan Wardrop and Richard Winsor; Glenda by Michela Meazza, Anjali Mehra and Emily Piercy; Prentice, the manservant, by Scott Ambler, Steve Kirkham, and Eddie Nixon; the housemaids by Maxine Fone and Valentina Formenti; Speight, the thuggish friend, by Eddie Nixon, Alan Vincent and Ewan Wardrop.
Lez Brotherston is responsible for the extraordinary set and “drop dead” costumes. The set is one of the best I’ve ever seen, capturing the Chelsea area of London with its background of lighted apartments and hints of local landmarks. A double staircase in the center allows the actors to move comfortably through the changing venues. The lighting designer, Paule Constable, also makes a considerable contribution.
The music is provided by a small combo, playing the music of Terry Davies. The jazzy score is excellent and follows the action impeccably.
The first act, which sets up the personalities of the various players, is followed by a second act that brings the upper and lower classes firmly together in a series of sexy scenes, all done without dialogue. Bourne proves that it’s not needed.