A Night of One Act Plays

Tonight, we were presented with two plays which were initially played within three years of each other. Both plays have predominantly female cast and contain woman of strong character who had very different tales to tell.

Top Girls by Caryl Churchill

The first one act play was Top Girls, written by Caryl Churchill, whose plays often dealt with feminist issues and abuses of power.

On arrival to the theatre the stage was set up for a dinner party with a beautifully dressed table which was covered with white and red clothes all ready for the guests. It was set centrally with a door to the kitchen, stage left, and an entrance into the room, stage right. Pictures adorned the walls. Small tables with flower arrangements were placed around the room, a large container for umbrella’s etc sat at the front stage right, this was a receptacle for a stick and later the sword. The front rostra accessed by steps was empty but used well during the play.

The properties used were appropriate for the setting creating the feeling of an upmarket London restaurant. A variety of glasses, wine and brandy bottles, bread baskets and cutlery were well used. The trolley conveying the food was useful for the waiter who efficiently delivered and removed items during the play.

The table was well lit, but some of the other areas of the stage required some additional lights.  There were not specific sound effects in this play but the triumphant song at the end was at the correct level and the disco ball added to the atmosphere.

The many period costumes were well sourced. Marlene’s stylish outfit with large earrings was certainly over the top and maybe more suited for a disco rather than a meal celebrating her success. Isabella’s outfit fitted well and looked true to character and Lady Nijo’s kimono, headdress, traditional footwear and fan made the character believable. Dull Gret’s muted outfit with breast plate and helmet, and Patient Griselda’s well fitting red dress, both related well to historical images of the characters. Pope Joan looked suitable pious in her white apostolic robes and mitre but the silver adornments looked at little too modern. The waiter was suitable attired in a dark suit.

In this play we are invited into a dinner party in an important restaurant to celebrate the promotion of Marlene, the protagonist of the play, in the Top Girls Employment Agency. The guests she has chosen to celebrate with her are not family whom she has socially distanced herself from to pursue her career in a male dominated world, but women from legend and history.

Her first guest is Isabella Bird a nineteenth century explorer, writer and naturalist whose work was honoured in her lifetime. She travelled widely and partook in many male pursuits which were not thought to be suitable occupations for women in her lifetime. She was the only member of the party who had not borne a child which was often thought to a burden to success.

Isabella was joined by a remarkable 13th century woman from Japan, Lady Njio. She produced an autobiographical narrative from 1271 to 1306, starting when she became a concubine to the retired emperor Kyoto at the age of fourteen, through various love affairs to her life as a Buddhist nun. She had been raised from birth to fulfil the role of concubine and her father instructed her when he gave her to the emperor to become a nun if she fell out of favour.at court. She faced sexual and psychological abuse and had her female children taken from her to be raised to follow their mother’s path. Churchill used her story to demonstrate the ‘harmful effects of life under patriarchy’.

Next to arrive is Dull Gret. Resplendent in breast plate and helmet carrying her sword, she is depicted in a Flemish painting by Pieter Brueghel the Elder.  The painting represents a woman leading a group of her contemporises to pillage hell following watching their own children die at war. The painting is meant to be based on a misogynist proverb stating the ‘while one woman makes some noise it can be borne. But the more the women, the more trouble there would be.’ Churchill links this want for power to Marlene’s want for success.

The next to join the celebrations was a legendary figure that there has been much speculation about. Pope Joan under the title of John V111, supposedly reigned between 855 and 858. She disguised herself as a man and rose through the ranks at the Vatican until her election. Whilst on a procession to the Latern she supposedly gave birth and was dragged away and stoned to death. She was mentioned in a 14th century book, and her image adorned paintings and sculptures; she was briefly included in a group of papal busts in Italy’s Siena Cathedral. Joan’s want for recognition led to her renouncing her own femineity in pursuit of masculine status, even to the loss of her own child; this ideology relates to Marlene’s life.

The final guest to join the party much later than the others, was Patient Griselda, a figure from European folklore who was included in the tales of Boccaccio and Chaucer. A peasant who was chosen by a wealthy Marquis to be his bride under the condition that she took a vow of obedience to him. To test this, he took away both her children, presumably to kill them, and later in her life threw her out of his home naked and alone. Griselda bore all this with grace. Eventually her husband welcomed her back and reunited her with her children. Over time male writers used her story to demonstrate the virtues of patience and obedience but Churchill points out the pain she suffered all at the hands of a man.

This was certainly a complex piece to deliver to an audience, especially those who had no previous knowledge of the players involved. The characters all had their own stories to share, and some were more effusive than others. You felt that there was one upmanship between the characters, and although actors were meant to interrupt others sometimes, it became difficult to follow their narratives. Marlene, as time went on, seemed to be the conduit between the characters and related little of her own life rather listening and facilitating others’ conversations. As the cast gradually imbibe more alcohol, more of their character’s lives are related. Themes of their backgrounds, life expectations, love and religion are covered, and how they have changed to fit into a patriarchal society. All this is related to the Thatcherite society at the time the play was written where women felt the need to strip themselves of their essential feminine characteristics to progress.

The characters use the playing area provided for them extremely well. They moved with purpose ensuring all their cues were accurate and the pace was good.

Marlene depicted the successful business women with clarity and presence, although I did feel that she could have tempered her enthusiasm a little at times. She effectively led the other members of the group through their stories. Well done.

Isabella related her life story with precision and her forceful interaction with the other characters to get her comments heard was brilliant. Her lines were clearly delivered with feeling, and she had great stage presence.

Lady Nijo, this experienced actor represented the role of a high-ranking concubine believably. Her acceptance of her station in life came across through her demeanour. She was able to demonstrate a variety of emotion as her story unfolded. Congratulations.

Dull Gret, what a wonderful part to play and what a fantastic delivery from the monosyllabic to her impassioned speech which was conveyed with gravitas. Her ability to constantly eat and drink initially from the bowl her way through the play, while still being an active member of the cast was superb.

Pope Joan was portrayed in an extremely pious manner by this actor. The complexities of her character were clearly delivered from her worries about her the world being punished because of her lies, to her denial of her female form. Her obvious joy when she described the chair for new popes was joyous.

Patient Griselda was the last to arrive at the celebrations, but this did not diminish her presence in the room. She delivered her horrific tale clearly with apparent emotion. Her role had been set and she followed it, although it was good to hear her concede that it would have been ‘nicer’ if her children hadn’t been taken away.

The actor playing the waiter did so in an efficient manner. He provided food and drink to the gathered company with no fuss. Well done.

The variety of themes in this play were, at times, difficult to hear, as well as the personal cost it took on all of them. Topics such as love to loss, regret and pain are all covered. The very different lives of each character were ultimately connected with views and expectations from the male perspective and were excellently delivered. As Marlene states ‘We’ve all come a long way.  To our courage and the way, we changed our lives and our extraordinary achievements.’

Womberang by Sue Townsend

 Sue Townsend was a well known for her Diaries of Adrian Mole but she was also a successful playwright and screen writer.

Womberang was first presented at the Soho Poly Theatre Club in London in 1979.  It is a comic one act play. The story is set in a gynaecology clinic waiting room into which a variety of patients are waiting for appointments. Into this setting arrives the whirlwind that is Rita.

The open stage set from the previous production has been transformed into the waiting room with double swing doors centre back. The consultant’s office is set stage right and there is a curtained area stage left. There is a receptionist desk set back by the double doors stage left with a filing cabinet beside it and a no smoking sign on the wall above it. The room is set with two lines of three hospital chairs opposite the receptionist desk and is adorned with information posters on the walls, some plants and ,strangely, a floor standing ashtray.

There were a variety of period props used in this play. The desk was set with a period telephone and some patients’ files. The wheelchair and newspapers looked right. There were numerous personal props from the forever growing knitting to the various handbags relating to the cast. Rita’s cigarettes and bell and Dolly’s bottle of gin were well used.

The strip lighting was bright as expected in a hospital waiting room, and the only sound effect was a telephone bell.

There was certainly an eclectic selection of costumes worn by the cast. I thought the receptionist outfit was a little over the top for her position,  she would have probably had a uniform or be expected to wear a plainer outfit and have her hair tied back. Rita’s outfit of mini skirt and top, heels and modern hairstyle suited her character as did Dolly’s jeans, knotted top, belt, high crimped pony tail and high heels. Mrs Lovett’s more traditional costume of skirt, top and boots with a wonderful fur hat looked great as did Mrs Conelly dress ,which was covering her corset and bloomers, hat and red tights. Audrey and James were conservatively dressed and Lynda looked great in her long flowery maternity dress and straw hat. Mrs Cornwallis’ suit fitted well but restricted her movement when she was fighting with Rita. Mr Riley, when he emerged from his consulting room looked suitably dishevelled as if he had just woken up.

This play is centred around the empowerment of women when having a catalyst to help them. The patient’s already in the waiting room are sitting respectfully waiting to be called for their appointment when in breezes Rita Onions. Her lack of respect for any authority rapidly encompasses the whole cast as she rearranges the waiting room to practice the skills she feels she has gained at her therapy sessions. She succeeded in getting everyone to unburden and much hilarity ensued.

The cast worked well together with good pace, used the playing space extremely well and they coped with the moving of furniture. Mrs Conelly made use of the curtained cubicle initially, until she needed help to undress, maybe due to the gin. Audrey and James’ connections within it with a variety of flying pieces of attire caused many titters in the audience and reaction on the stage. There were some stand out moments during this performance namely the ‘Benny Hill’ run around outside the swing doors, the fight between Rita and Mrs Cornwallis - but the best one was Mrs Conelly’s song and dance routine! It was exceptional with nuances I felt of Julie Walters. It was an outstanding scene. Sometimes the less experienced members of the cast could do with more experienced members giving them pointers to develop their skills. The clerk came across as aggressive when she was questioned, she could have displayed authority without shouting, and the officious manner of the hospital administrator could have been tempered to regain control of the room. The arrival of the consultant following Rita’s entry to his office, brought about with the help of the administrator, order at the end of the play.

The Hospital Clerk spoke clearly and used her space well. She now needs to continue to learn to use her manner and voice to gain control and develop her dramatic skills. I’ll be interested to watch her development. Well done.

Rita delivered a well-rounded characterisation of a female fighting society. She had lost her children but was doing all she could to get them back by following strategies given to her. She displayed light and shade with her depiction and she facial expressions and demeanour. The feelings that she would succeed in her task was palpable. An impressive performance.

Dolly portrayed a comic feed role to Rita, always backing her up and trying to be the voice of reason. Although dominated by Rita and seemingly unable to have her own opinions, you could see the steel rising in her occasionally shown by a sideways look or facial expression. A superb portrayal.

Mrs Lovett was played with aplomb. She sat on her chair with the same determined expression throughout and made her pronouncements without dropping a stitch of her knitting. Her accent was accurate and her comic timing good. Great characterisation.

Mrs Conelly this very experienced actor is a joy to watch. What wonderful comic timing she has. She does not waste a move or a line, and she pulled out every bit of physical comedy from the character. Her interaction with the other characters was brilliant; a true tour-de-force. That said, there were also some very serious moments played with gravitas. I will remember for a long time her song and dance routine with her teeth.

Audrey played the part of a domineered wife excellently. Her body language was very submissive with hands in lap,  head down and quietly spoken manner. It was wonderful to see her character develop into a confident woman who stood up to and eventually got her man to perform as she wanted!! Congratulations.

What a nasty piece of work James was. At the beginning of the play he was in charge and not bowing down to any female. It was great to see his reaction to Rita when she stood up to him. It was good to see the changed man he was at the end when he had submitted to Audrey’s demands. Well done.

Lynda played the posh expectant mum with her own agenda extremely well. No one was going to change her ideas of her planned birth until her waters broke and her body took over. I hope the screaming we heard as she was preparing to give birth will not be needed when she does eventually give birth herself. A believable performance and good luck with your little one.

Mrs Cornwallis looked the part in her elegant suit. She spoke clearly in an articulate manner. This actress is beginning to show greater dominance of the stage. I look forward to seeing her progression in future shows. Well done.

Mr Riley looked suitable surprised when he walked out of his room to all the chaos around him. It’s not easy to appear later in a play but this actor made the part his own.

Before I close, I would like to congratulate your Publicity team on the many ways you advertise and promote your productions. I was waiting with baited breath for the next post on social media and I’m not at all surprised that your audience numbers increased because of it. You could teach other societies what to do. Many congratulations.

St Austell Players can always be relied upon to produce plays that make you think and consider issues,  these two one acts plays certainly did this. Thank you for your kind invitation to attend a performance.

Disclaimer 

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be affected by that knowledge. 

The NODA Representative’s intention is to give an objective critique of the overall production and in particular, the performance.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances and are only made to encourage higher standards in Amateur Theatre. 

 It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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