'And Did Those Feet?' was David Mercer's most non-naturalistic play. It used
all the gimmicks of his earlier 'A Suitable Case for Treatment' (The
Sunday-Night Play, BBC, tx. 21/10/1962) and more: freeze-frames, newsreel
montages, surreal dream sequences, and a sardonic voice-over. Its
larger-than-life characters, poetic dialogue and farcical situations make for a
stylistically unique drama. The play was directed by Mercer's regular
collaborator Don Taylor, who found the script "extraordinarily, daringly,
suicidally original".
Mercer's story touches upon a number of the writer's preoccupations, notably
father-son relationships and the position of the aristocracy in the radically
shifting social landscape of the twentieth century. Mercer examines the
stagnation of England's upper-classes with savage comedy. The title itself is
drawn ironically from Blake's Jerusalem, an anthem of traditional England, and
the character of Lord Fountain embodies all that is ridiculous about the ruling
class. His inability to produce a legitimate heir and the impotence of his
bastard sons suggest the failing power of hereditary privilege.
The twins Bernard and Timothy also represent the beginnings of a new social
movement, opting-out of their father's decadent world. They fail in the
established career route from Oxford to the forces, to a merchant bank, and they
later refuse positions in the Foreign Office ("My family's put its idiots into
the Foreign Office for generations", says Fountain). They abdicate the
responsibilities of their class, preferring life alone or with animals, as they
had lived while lost in the jungle during the war. They work in a zoo, but set
the animals free, and end the play paddling up the Amazon. They are
proto-hippies, dropping-out before the phrase was coined.
The play's pace is uneven, beginning with rapid comic adventures before
slowing to concentrate on the brothers' introspective, existential concerns.
Taylor's direction provides evocative sequences of the candlelit swimming baths
that the twins take to living in, and imbues the play with an increasing sense
of unreality. The Daily Herald called it "a masterpiece", though Taylor would
forever believe he had not quite got the production right. The Times wrote that
"Mr. Don Taylor's direction created some delightful pictures... but could not
impose pace and a sense of direction upon the scenes which Mr. Mercer allowed to
stagnate."
Both cartoonish and lyrical, the drama remains a fascinating exploration of
the diverse social forces colliding in mid-1960s Britain, as seen by one of the
era's most perceptive playwrights.
Oliver Wake
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