Emilia

 

I was welcomed by the Front of House team and met with Director Alison Crawley during the interval and again after the performance. She explained that she was making her debut as a Director.

This was a very challenging production for a first time Director but Alison’s creativity and determination produced an appealing and intriguing play. The plot seemed complicated at first being inspired by a 17th century poet, Emilia, who aspired to become the first female poet. Told through the lens of three Emilias each representing a different period of time, the play emphasised female resilience and the struggle for equality and recognition. The casting of the fourteen all female cast was excellent with several of the cast covering more than one part.

The title role of Emilia was covered by three excellent actors. Young Emilia 1 was played by Denise Greene a new comer to the stage and what an impact she made! Energetic and very talented she interpreted this part extremely well as she was being prepared for her future role. Emilia 2 was played by Susana Concheso who covered the middle aged Emilia and her perceived role as Shakespeare’s muse. Emilia 3, a much older Emilia, was well interpreted by Aileen Stirling. All three actors complemented each other with their individual delivery of the role.

The three ladies, Lady Cordelia, Lady Kathderine and Lady Helena, played respectively by Anne-Marie Ambrose, Beth Sullivan and Shannon Shaw played key supportive roles to Emilia whilst Lady Margaret ( Sarah Harvey-Wade) was responsible for training Emilia in the protocols of being a ladies’ maid. It turned out to be more difficult than planned ! I also enjoyed Claire Walmsley’s portrayal of Shakespeare, as an inveterate lothario.

There were a few more small parts all intrinsic to the storyline. Some humour was apparent throughout especially around the birthing scenes! Well done to all the cast who mostly projected their voices well and could be heard clearly.

The set was simple and effective consisting of a raised platform in the centre of the stage with a ‘library’ of books included. Steps each side led to a balcony over the stage providing additional space for movement. The few props consisted of a baby crib (and baby), table and chairs and these were all moved fluently on and off.

Costumes were a mix of modern and Tudor period with the latter hired in locally. Most of the principals were clad in the Tudor era. Lighting and sound were both relevant to the period.

Movement around this small stage was cleverly choreographed by Clare Viccars who made use of every inch of space. The cast were constantly moving with no characters stationary for long.

I had not seen this play previously and enjoyed it very much. There were so many hidden meanings and connotations with modern life to explore.

Well done to everyone involved in any way. Special congratulations to Director Alison Crawley for bringing this production to the stage.

 

 

 

 

 

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