It is a brave man who chooses to satirise feminist extremism. But the problem with this updated version of Molière's The School for Wives by CP Sykes lies not so much in its political incorrectness as in its lack of social reality. Although it contains a knockout performance by Lynda Bellingham it fails to create a plausible world.
Molière's 17th-century comedy dealt with a man so terrified of cuckoldry that he kept his future bride in a state of ignorant isolation. In this modernised version Sykes gives us an expatriate New York feminist, Elinor Waugh, determined to marry a 17-year-old boy likewise reared in social exclusivity. Far from mangling Molière, however, Sykes makes the mistake of sticking far too closely to the original plot. It is never clear why a modern feminist icon like Elinor would prefer a tame husband to a toyboy. And, while educational incarceration was possible in the 17th century, it beggars belief that a modern teenager would not be exposed to the influence of television and newspapers.
If Sykes wanted to attack female control-freakery, he would have done better to invent his own plot. But, even if his story is shaky, his rhyming couplets have a certain rude vigour. And Bellingham lends Elinor not only a flawless New York accent but just the right mix of lust, cunning and vulnerability: the advantage of dating younger men, she explains, is that "they don't try to glimpse you in the light to check you out for cellulite" but adds, with just the right degree of apprehension, "not that we have to worry on that score." David McAlister provides strong support as a rationalist lawyer who loves Elinor in spite of her absurdities. But if the aim was to make feminists shift uncomfortably in their seats, I suspect a revival of Molière's Les Précieuses Ridicules would have done the job more effectively.
Until May 25. Box office: 020-7287 2875.
