My Mother Said I Never Should

It is well known that Charlotte Keatley’s “My Mother Said I Never Should” is a masterpiece of modern theatre.  The debate continues as to how a woman aged 25 managed to encapsulate so much wisdom into her play. The well laid out informative programme told us that she had been steeped in theatre, seeing about 250 plays annually in her role as a critic. The text of the play has been on my shelf for over twenty years. However, I have never seen a production of it before this evening. It is no exaggeration to say I left the Empire Theatre last night feeling exhilarated. This Blackburn Drama Club production was outstanding. Long into the early hours my mind was still trying to come to terms with some of the themes the play had presented such had been its effect. I was very interested to read of the preparations the cast and director had worked on to bond. It was clear from the outset their efforts had borne fruit.

So, what made me feel this way? Firstly of course this is a very good play indeed. One that will continue to be produced and studied for many years to come. The cast is given every opportunity by the author to create something extraordinary. Yet at the same time the play contains many challenges if it is to successfully engage with its audiences, not the least of which is its non linear construction. Then there is the challenge to the actors of having to play themselves at different ages from pre-teen upwards. The director Elizabeth Holland clearly understood the opportunities on offer. I would be interested to know if she has acted in or directed the play before.

  As the play opens in the Wasteland, as Charlotte Keatley describes it, we are introduced to four young girls playing games, singing songs and, more disturbingly deciding to kill mummy. Immediately we know we are in for something unusual, unsettling even. The scenes that follow explore the four characters’ lives and relationships over a span of about 60 years. They experience frustration, tragedy, misunderstanding and the whole gamut of unexpected or unplanned for occurrences that life naturally throws at us. That the world changes significantly over such a long passage of time is obvious. Just consider how much it has moved on again since the play first saw the light of day at the Contact Theatre in Manchester in the “uncomplicated” days of 1987. The clues to where we were in time were conveyed by music and costume. The songs never intruded and continued for just enough time to identify what year, roughly, we were in. The costumes, frequently changed on stage, were exactly redolent of their respective eras. Full marks to Shirley Watson for managing this so expertly.  I liked the way the actors used the set to hang their costumes on. It was always there in the background but served as an unworldly reminder that order and continuity of life was not far away. Elizabeth Holland was responsible for its unusual yet practical design.

The four actors could have been one person such was their respect for each other. The rhythms of speech, the dynamic between them, and the confidence they displayed was at times breath-taking. I have yet to see Jenny Hodkinson create a finer role. Louisa Harkness possesses the innate ability to instil magic to any role she is given. Heather Radler was brilliantly cast as Jackie bringing sincerity coupled with natural animation. Sarah Nolan as Margaret completed the quartet adding her own style and grace to her thoughtful interpretation.

That I have admiration for the director I hope I have already conveyed but let me say it again. Elizabeth Holland, travelling incidentally from Todmorden, is to be congratulated for bringing this special play so vividly to life. The final speech delivered by Doris wearing a stunning 1920s outfit brought a lump to my throat. It was delivered without a shade of irony and cut to the bone in its power. Throughout the audience was wrapped up in the play. At its conclusion their applause was highly appreciative.

Thank you, Alison, for looking after me so well and to all the other BDC members who helped to make this such a memorable production.

Last night I witnessed something truly remarkable.

 

 

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