My Cousin Rachel

As I took my seat on the evening of the final performance, I observed the sizeable audience. The setting for the play was the interior of a Cornish country house which included red velvet cushioned chairs, a leather sofa, and a winged chair. The fireplace, red patterned rug and several lamps suggested a comfortable and cosy home which also had a degree of grandeur, complete with a chord to pull for attending servants, cleverly designed by Lynne Young and Joe Young to offer space for movement and a staircase. The window with no curtains in Act 1, allowed the audience to fully take on the Cornish ambience before the actors came on stage. Lighting complimented this with soft lighting and a flickering firelight.

My Cousin Rachel is based around the experiences of a young gentleman, Philip Ashley, whose cousin, Ambrose, had died after travelling to Florence, Italy. While travelling in Italy, Ambrose had fallen in love with Rachel, married her and then died in suspicious circumstances. The play explored whether Rachel might have had a hand in Ambrose’s death. Having travelled from Florence to the family home of her deceased husband, Rachel’s presence completely changes the pre-existing dynamic in the house and arouses suspicions and desires, not least in Philip, cousin, and heir to the Ashley home. Under the direction of Lynne Young, this production tells this story very well and whilst Act 1 seemed slow but steady, moments of suspense and intrigue were heightened in Act 2.

The naïve but headstrong Philip was excellently played by Gabriel Campbell. He was well cast. He successfully brought an innocence to the role with an impulsivity. He quickly became infatuated with Rachel and switched quickly between lust and distrust for Rachel. His performance towards the end when he suffered the torment of knowing he had lost Rachel was commendable. His facial expressions and body gestures showed utter desperation and confusion when he grew ill.

Leanne Brown had a stage presence as she took this principal role and brought an impressive strength to the character. Her expressions, her confident stance, her rustling of her skirts of her gowns, her gentle but well projected speech and its inflection were subtlety layered to give the audience the impression she was both beguiling and scheming. Her role kept everybody guessing as to her true motivations.

I enjoyed Dominic Holmes’ portrayal of Philip’s mentor, Nicholas Kendall, providing a calm, sincere and balanced presence. His character could be likened to that of a strict father figure whose advice about Rachel’s motives were ignored by Philip.

His caring daughter, Louise, was played by Louisa Vance with grace and serenity, though voice tone and facial expressions did not hide from the audience a sense of jealousy where Rachel was concerned. Raphael Lawrence seemed very comfortable as the mysterious Italian Antonio Rainaldi and maintained the Italian accent well. Credit must also go to Robert Onions who was superb as the very faithful servant, Secombe. His attention to detail in his characterisation did not go unnoticed; including well timed entries on set with different trays of drinks, faultless Cornish accent, his body language suggesting subservience and loyalty to the family members and a keenness to help. Adam Wyke too, inhabited his character of James well.

The costumes successfully portrayed the period and each character’s personality.

I enjoyed the performance, congratulations to the director, Lynne Young, all the cast and crew,

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