“I f**king love the Witterings,” asserts Keith Richards from the dock, explaining why he bought a 15th century baronial manor house (with moat) – that’s the Redlands of the title – in the heart of leafy West Sussex, during his 1967 trial alongside Mick Jagger for drug-related offences at Chichester Crown Court. That little statement expresses perfectly the delightful class-based friction that gives this story a delicious edge. No better theatre then, nor indeed audience, for Charlotte Jones’ unusually structured but extremely entertaining play that brought the Rolling Stones under the gaze of the West Sussex Constabulary in a trial where the two stars were defended by one Michael Havers, QC, later Attorney-General and Lord Chancellor under Margaret Thatcher’s Prime Ministership.
In fact, this is virtually two plays, neatly dovetailed together, but possibly misleadingly if you’re expecting a play about Jagger and Richard. In fact, the most significant characters in the play are Michael Havers and his son, wannabe actor, Nigel Havers (yes, the Nigel Havers), and their fractious, distant relationship. It’s not that Havers Senior doesn’t like or value his son – although he finds it hard to accept that the latter doesn’t want to work in the law like everyone else in the family – it’s primarily that the QC is such a busy man, and so work-oriented, that he simply hasn’t the time to be interested in him. Mind you, Havers Senior shows himself to be a typical stuffed shirt when he refuses to allow young Nigel to attend the lunch table dressed in the Kings Road’s fashions of the day. It’s left for Michael’s father, Sir Cecil Havers (Bongo to his friends) to give Nigel moral support by going to Lord’s together, boosting his confidence and generally getting down with the kids – Bongo is nothing if not a barrel of laughs.
Secondary to the Havers dynasty, the play next concentrates on the effect of the Redlands court case on Marianne Faithfull, Jagger’s current flame, referred to as Miss X during the trial. She was present when the police made the drugs raid and felt that she was equally if not more responsible than Mick and Keith – but Havers refused to let her testify. Whilst Havers was able to lodge a successful appeal against the sentence that Jagger and Richard received, Faithfull laments that her name will never be cleared – and she does indeed come across as the person who loses the most in the whole story. As for Jagger and Richard – all publicity is good publicity, and they never looked back. Charlotte Jones sets the date of the sentencing appeal on the same day that young Nigel is to take his audition to study at RADA, intertwining both elements of the story into an emotional finale.
Ms Jones enjoys wringing every possible local connection out of the text, with news reporters describing the local community as largely decent, and Keith Richards describing the people surrounding him as old (at which point he gestures to the overwhelmingly geriatric Festival Theatregoers); she also gives her central character of Nigel Havers the role of narrator, talking directly to the audience throughout, acknowledging that he’s on the stage of the Festival Theatre – right here in Chichester – and he even points out the audience to his father at the end of the show, who’s astonished to discover that there’s been a thousand or so of us watching him from the very start. It’s a fun concept that doesn’t really hold water, but we play along with it because it’s very shapely and lends a nice surreal air to everything going on. To be frank, there’s not much verisimilitude in the production; after all, the Stones did not break from the court case to perform a rock number in front of the Judge with dancing police officers. But it is entertaining to see how a gifted barrister like Michael Havers could spin the facts in his questions to the police and Jagger and Richard (a.k.a. the boys) so that the former come across as conniving targeting entrappers and the latter as sweet-natured innocent lads.
Joanna Scotcher’s multi-level set reserves a largely empty space downstage for Havers’ home and office and the courtroom, and a curtained-off hidden upstage area for Stones performances and a dream sequence. It works, for the most part; perhaps it looks a little clumsy when characters who have nothing to do with the musical performances, like Havers’ office staff, enter the stage by revolving out from behind the half-raised curtain. Ryan Dawson Laight’s costumes are excellent, creating some very believable 60s fashions alongside the stiff and starchy legal types. I could really aspire to a pair of Keith Richards cuffs.
The performances are all superb; hats off to Louis Landau (Nigel Havers) and Jasper Talbot (Mick Jagger) on their stage debuts, both extremely convincing portrayals of the younger versions of people we all know and love. Mr Talbot’s on stage Jagger is pure entertainment and almost a snapshot of the original’s iconic performances. Anthony Calf does a first rate job as Michael Havers; authoritative, genial in a condescending sort of way, flustered by what he doesn’t understand – a strangely vulnerable large cog in a very traditional wheel.
Emer McDaid stands out as Marianne Faithfull; self-confident because of her upbringing but powerless against the might of the law. Her singing voice is very reminiscent of the early Faithfull, and her brief rendition (together with Mr Landau) of Ruby Tuesday brings a lump to your throat. There’s terrific support from Olivia Poulet as the increasingly assertive Carol Havers, brilliant attitude from Brenock O’Connor as Keith Richards, and a typically scene-stealing performance from Clive Francis bringing all the irrepressible fun out of the character of Bongo as he can muster; he’s got a tambourine, and he’s not afraid to use it.
This is an undoubtedly odd play; in some ways neither one thing nor the other. But the drama and music elements subtly combine to make a thoroughly entertaining whole, and you’ll be so tempted to take a diversion via West Wittering on the way home. A plea to Front of House: please make more of your requests before the show for everyone to turn off their mobiles. I’ve never heard so many phones going off during a performance before and it really killed the mood a few times.
Four They’re Jolly Good Fellows!
