Not for Keeps

‘Not for Keeps’ is a new play which explores the topics of infidelity, illegitimacy, adoption and redemption in the twentieth century; it is a largely autobiographical account of the origins of its author, Vince Jones, in the form of a domestic soap opera, with a foot in both mid-century and late-century Britain.

Dorchester Drama’s presentation of the play took us instantly to a recognisable world at the end of World War II, in which a young wife, having been separated by war from her husband, is persuaded by her sister to attend the Victory Dance without her wedding ring, so that she can dance the night away – with disastrous results.

Lead character, Mary, also served as Narrator, linking the dramatised episodes of her life with an overwhelming sense of the despair and hopelessness facing the mother of an illegitimate child at this time.  Her younger self was well-played, capturing her traumatic emotional journey throughout: the parting from her baby was genuinely moving.  The Director gave an excellent portrayal of George, the angry and embittered husband home from the war.  Mary’s lively younger sister, Molly, demonstrated rather more of the optimism of VE Day, cheerfully encouraging Mary to be single again, just for one evening. Their mother was convincingly portrayed as the tough nut with a soft heart, seeing all the potential dangers and doing what she could to make the best of it.  Mary and Molly’s kindly father, Bill, was a warm and humane character.  GI Gary Sampson sported a very good Detroit accent, although his relationship with Mary lacked the charm which would have made it more convincing.  Mary’s daughter (and baby Robert's half sister), Gracie Bristow, was supportive and encouraging of her mother, as the adopted child reappears in their lives.  Mrs Grey gave a sound portrayal of the small-minded, stuck-up shop manager, eager to point a finger.  Dr Cunningham was kindly and sympathetic.  Rose Andrews was very much the caring and supportive woman from the adoption agency, assisted admirably by her young and serenely obedient secretary, Catherine. 

The simple set was designed to suit the period, its white walls trimmed with a strip of wallpaper and the props and furniture having been given careful consideration, to include a kitchen dresser, a flat-iron, a typewriter and a coach-built Silver Cross pram, all handled well by the company.

Costume was used to contribute further to the spirit of the time: Mrs Grey had good shoes and a smart outfit, as she looked down upon Mary; Rose Andrews was dressed smartly and soberly; Catherine wore a very neat dress; Gary was a GI in need of a military haircut.

Musical links covered scene changes, utilising music from both eras.  Lighting was appropriate for the kitchen, office and the narrator in the spotlight.

This was a moving and personal story, respectfully told, highlighting the plight of thousands of women and children in the 1940s and beyond. 

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