Knicker Spy

You could be forgiven for thinking that a play titled "Knicker Spy" might suggest a comedy, but it is actually an interesting informative drama about the under acknowledged bravery of a woman during the Second World War, written and directed by the talented Mark Jones, Artistic Director of CADOS. The narrative focuses on Margery Myers Booth, an opera singer from Wigan, Lancashire, born on 25 January 1906. After joining the local operatic society as a teenager, she studied at the Guildhall School of Music following a scholarship win in 1925. She made her professional debut at Queen's Hall, Wigan, on 4 October 1935. By 1936, she had performed at Covent Garden and travelled to Hollywood for a short period to appear in a film version of "Aida." Later that year, she married Dr. Egon Ströhm, the son of a German brewery family, and moved to Germany where she performed at Bayreuth and the Berlin State Opera, while continuing occasional appearances at Covent Garden. Her most notable role was as Carmen in Bizet’s opera of the same name. During her time performing in Berlin, Margery Booth attracted the attention and admiration of Adolf Hitler, who once visited her dressing room. To further express his esteem, Hitler sent Margery 200 red roses, wrapped in a sash adorned with a swastika. This gesture granted her access to the highest echelons of the Nazi hierarchy, a connection that ultimately led to her recruitment by British intelligence, MI6, as a spy. Margery was with Hitler on his birthday, when he was presented with the new Tiger tank, meaning she was able to provide valuable information which eventually resulted in a Tiger being captured in North Africa, and taken back to London following personal orders from Winston Churchill. The Nazis thought her influence could be used to their advantage, so Margery was allowed to sing for British prisoners of war at Stalag IIID. Their hope was that her performances might convince some prisoners to defect and join their fight against the Soviet Union, her performance included a variety of English folk songs, but the Germans were not happy when she sung Elgar’s Land of Hope and Glory. It was within this context that Margery met Army officer John Brown of MI9, who had deliberately allowed himself to be captured on the Normandy beaches so he could work as a spy behind enemy lines in the prisoner of war camp. John Brown seized the opportunity to utilise Margery position, enlisting her help to send coded messages back to London. Ingeniously, Margery smuggled these secret papers out of the camp concealed in her underwear, playing a crucial role in the exchange of intelligence during this perilous period. One time Margery performed onstage for Hitler and his Nazi hierarchy at the Berlin State Opera, with secret documents in her costume which had been placed there by an army officer just prior to going onstage; discovery would have meant certain death. Early in 1944 Brown was exposed, and Margery was arrested then tortured by the Gestapo, but she did not reveal any information, and she was released due to lack of evidence. Margery escaped Berlin during a bombing raid and returned to Britain, where her information aided the Old Bailey treason trials of William Joyce and John Amery. Although some mistook her for a Nazi sympathiser and double agent, her true story emerged through John Brown's memoirs and the finding of a photograph of Margery at the Prisoner of war Camp. Despite her bravery, she received little recognition, passing away from breast cancer in New York on 11 April 1952 at age 46.

The story was presented with Mark Jones's typical combination of original concepts and historical narrative. Upon reviewing the programme, I was surprised about the inclusion of dancers in a play which focused and highlighted the bravery of spies during the Second World War. However, as the play progressed, it became clear that the dancers were interpreting Margery’s emotions and narrating aspects of the story through movement. Zoe Jones, supported by Cara Jones, created choreography that the dancers performed excellently with lots of skill, clearly expressing the intended meaning and enhancing the narrative. Steph Threlfall as Margery Booth produced a strong confident performance, effectively conveying the singers secretive and risky dangerous life. Her realistic portrayal, especially in the torture scene, stood out as excellent. Nick Cox who played Margery’s husband supported Steph well, and Nat Aspinall was spirited as Victoria, her dresser and friend. Other important roles included Jack Vardy as Adolf Hitler, Colin Leigh as SS officer Warner Fromm, Rob Hales was Wilhelm ‘The Butcher’ Batz, who was suitably threatening and shocking during the torcher scene. Zoe Jones was secretive as Quinn from MI6 as she recruited Margery for her secret work, Scott Shacklady appeared as an SS officer, and Fiona Clarke was the Butcher’s Assistant. Other performers included Wendy Harrison, Rachel Kemp, Sarah Gregory, and Natalie Ward. The excellent Dancers included Libby Burke, Cara Jones, Layla Clarke, Zach Whitbourn, Rebecca Dickinson, Gemma Nightingale, and Rosie Macaree. The dialogue throughout the production was consistently clear and audible, which ensured that the audience could easily follow the unfolding story. There were moments where it was unclear whether certain actors were intentionally attempting German accents, as their natural local accents sometimes seemed to overshadow these efforts. Despite this occasional ambiguity, it did not detract from the overall enjoyment of the performance, as the clarity of the speech remained strong and the narrative was always accessible.

The stage scenery for the production appeared intentionally minimalist, allowing the focus to remain on the narrative and performances. Scene settings were effectively transformed through the use of suitable props and flags, complemented by carefully chosen lighting to evoke the appropriate atmosphere for each moment. At the back of the stage, a video screen played a dual role: it not only assisted in establishing different locations but also projected period newsreels, such as footage of Adolf Hitler addressing crowds and images of Nazi parades, thereby enhancing the sense of historical context and propaganda.

Lighting, Sound and visual effects were thoughtfully designed and operated by Paul Carr, ensuring that transitions between scenes occurred smoothly and efficiently. Credit is due to stage manager Katie Potter and the entire stage crew for their seamless coordination, as well as to Judy Brewster for her work with props and the set builders for their contributions.

Considerable attention was paid to the costumes, by Kath Townsend and her team which were meticulously selected to reflect the era and setting of the play. Notably, even the correct period-appropriate underwear for women was sourced, further adding to the authenticity of the production. The collective talent invested in these details significantly enriched the overall atmosphere and believability of the performance.

The pace of the production was mostly alright ,however Just a constructive point, the scene where Margery first meets her husband in the park felt slow, using silhouettes was a clever idea however the people walking in the background were distracting as this was a lengthy scene and I found myself focusing more on guessing which characters would appear next as they cycled through their order.

This theatre production, inspired by actual events, employed innovative methods and dramatic elements to educate the audience about the achievements of a woman whose contributions were not publicly acknowledged. The depiction of a torture scene, while unexpected, was integral to accurately portraying the historical context and the significant risks individuals faced during that era. Margery Booth is representative of numerous figures who made discreet yet impactful contributions to the safety of others at that time. The play serves to illuminate such under-recognised efforts, fostering greater awareness and appreciation for those whose actions have previously gone unnoticed.

Thank you for the invitation to attend this innovative and educational production. I appreciate having had the opportunity to experience it.

 

 

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