Review by Harry Bower
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It’s 1899 and American troops in the Philippine Islands are attempting to wrestle control of the locals. The smells of wet sugar cane and hemp linger in the air, as patrols wander the streets looking to root out conspiracies and those plotting to support the Filipino resistance. In a town centre home one family’s world is about to implode as they are invaded by folk of
faith, estranged family members, and the U.S Army itself… This is The Devil May Care, a new adaptation of George Bernard Shaw’s The Devil’s Disciple, now playing at Southwark Playhouse.

The story begins with the death of a father, Lieutenant Elias, his son and Adele, his wife,
experiencing their second loss of the week, comforted by the local priest. The saving grace is that they are due to inherit large sums and assets, or so they think. Shortly the ‘evil brother’ Richard shows up and lays claim to it all, supported by a hastily scrawled change of will he claims was written by his father on his deathbed. Richard, the self-professed slave to
the Devil, charms his way through the local community and seems to charm himself when he voluntarily steps in and saves the vicar from a charge of sedition, by impersonating him. It’s a fun proposition - if a bit complicated - sometimes blurring lines between comedy drama and farce.
Unlike some plays I’ve seen recently, act one and two are very different in style. Act one can mostly be classed as a wordy historical kitchen sink drama. A dysfunctional family reunites in unusual circumstances and historic relationships unravel. Dialogue throughout act one has a
bit of zip to it but stumbles over its occasional overambition. There is very little space given for scenes to breathe and despite generally functional and effective direction the whole thing felt a bit gargantuan, despite only lasting 55 minutes. Act two however fixes much of my
complaint about its predecessor. In what is essentially a courtroom drama the pace is much better and the twists are compelling. I found myself questioning the stark difference in both acts; was it necessary to have such a complicated web of relationships in act one to set up
act two? Or could the whole thing have been a bit more… simple?

I absolutely love learning new things about history by attending the theatre, though I am always wary of the ability to be influenced by the political persuasion of the writer. Mark Giesser, in this case, tows the line well, highlighting the absurdity of colonialism and American turn of the century bravado in caricaturesque vignettes depicting debates in the Senate or between journalists in Manilla, mixed in with the more human side of an occupation. The political leaning in the writing is clear, but there is space for interpretation and nuance, just about. Unfortunately the clear political message isn’t fully supported in weight by the narrative - there is very little explanation for Richard’s sudden change in position and the backstory that fuels his family feud (so visceral that the family are willing for him to die) is practically ignored throughout.
Performances are uneven; actors multi-role which is usually clear, and in their main roles performers are largely accomplished with a couple of exceptions which is largely down to some American accents which tend to go missing at times. When this happens it fully jolts you out of this caricature world that’s been built and on which the far-fetched narrative relies. Callum Woodhouse as Richard Conroe and Beth Burrows as the vicar’s wife are the two stand-out performers, their chemistry evident for all to see - and it’s this which fuels the intrigue in act two.

I enjoyed The Devil May Care. Its demonstration of complex family dynamics are, while contextually historic, very relevant and relatable today. Its handling and exposing of racial slurs, sexism, and general lack of equality of the time period is sensitively but impactfully done. The piece prompts discussions about power dynamics, British and American influence and colonisation, but doesn’t land on its feet perfectly. In the end it feels somewhat a contradiction in terms. For some reason, it seems the devil does care. I just wish I knew why.
The Devil May Care plays at Southwark Playhouse until Saturday 1st February 2025. For more information visit: https://southwarkplayhouse.co.uk/productions/the-devil-may-care/
Photos by Lidia Crisafulli