When Madame Bovary was first published in 1856 it scandalised Parisian society and brought charges of immorality. However, for author Gustave Flaubert it secured his place as the father of literary realism. A minute dissection of the bourgeois classes had left him on the horns of a dilemma; how does one follow up such a massive hit without losing artistic integrity? In the Oyster Problem, Flaubert fights the reality of a dwindling income and the absence of oysters, wine and other luxuries that only money can buy.
Gustave Flaubert (Bob Barrett) sits at the hub of the literary community in Paris. He merrily banters with Emile Zola (Peter Hannah), who has supplemented his income by writing for newspapers. He urges Flaubert to embrace the commercial potential of writing and cure his financial woes. It is a case of writing popular novels that sell to a mass audience. Flaubert is unrepentant and refuses to cheapen his artistry. His close friend Ivan Turgenev (Giles Taylor) provides a sympathetic ear but reluctantly backs Zola’s view. Flaubert’s niece Caroline Commanville (Rosalind Lailey) is a talented artist but grows increasingly concerned for the family’s finances. With the assistance of George Sand (Norma Atallah), Zola and Turgenev hatch a plan to secure a paid position, but will Flaubert grasp the nettle?
This highly literate and intelligent piece sheds light on the French literary scene in the 19th Century. It benefits from an adroit cast led by Bob Barrett, who has brought Flaubert to life complete with various foibles, especially his drive for perfection. To take a whole morning to write one sentence perfectly illustrates le mot juste (‘the right word’). Elsewhere, the contemporary reference to ‘marketing’ seems incongruent with the period when it was barely recognised as a concept. For the uninitiated, this is a challenging proposition that feels heavily self-analytical. This is essentially a play about writers talking about writing and other writers. The verbal interplay is bright but feels like literary poker, as Tolstoy and Balzac are thrown into the conversation. To fully appreciate these references the audience needs an awareness that puts it in the ‘one for fans’ category. However, a quality cast keeps it ticking over with a script that looks inside the mind of a uniquely talented writer.Review by Brian Penn
Rating: ★★★
Seat: D12 | Price of Ticket: £35/£31 concessions
