The School for Scandal was written 247 years ago by Richard Brinsley Sheridan, yet its theme of spreading unfounded gossip relates to the 'fake news' we often hear today. Unfortunately, neither this, nor an invite by production company Tilted Wig to “join us for a lightning-paced evening of romance, revenge and rollicking fun,” could prevent a lot of empty seats for the first night at The Devonshire Park Theatre, Eastbourne, on Tuesday. Tilted Wig and director Seán Aydon updated the play by changing the setting from 1777 to the 1950s, complete with distinctive costumes and a row of telephones. But at times they tried too hard to 'sell it', with the result that there was so much tittle-tattle spread by various gossiping characters in the opening scenes that it became confusing. Joseph Marcell, the only member of the eight-strong cast not to play more than one role, took full advantage of the fact that Sir Peter Teazle was one of the easiest for the audience to understand. Marcell, perhaps best known for his role in The Fresh Prince of Bel-Air as well as other TV appearances including those in Death in Paradise and A Touch of Frost, perfectly captures elderly, frustrated Sir Peter who regrets marrying the much younger free-spending Lady Teazle, excellently played by Lydea Perkins. Her mud-slinging friends Lady Sneerwell (Emily-Jane McNeill) and Mrs Candour (also played by Lydea Perkins) don't care about destroying reputations. Sir Peter is led to believe that his wife is having an affair. She isn't, but decides she might as well do so if the accusations are being made. A subplot involves brothers Charles (Garmon Rhys) and Joseph (Alex Phelps) – one good, the other bad. Their rich uncle, Sir Oliver (Tony Timberlake) returns after a long absence and sets about discovering what Charles and Joseph are really like. The brothers both see the advantage of marrying Sir Peter's ward, heiress Maria (Ayesha Griffiths). Guy Dennys plays both Rowley and aptly-named informer Snake to complete an enthusiastic cast which treats us to a dance at the end of the play. REVIEW BY by Tony Flood.