Playhouse Ceatures

                 

I was greeted warmly on arrival at this intimate theatre and observed an almost full auditorium. The set had been cleverly designed by David Thompson once again and constructed by the society. It depicted a wood panelled backstage of a theatre in the 1660s with a separate area stage left denoting the front of a stage. Here the actresses performed short clips to “their” audiences. Clever use of lighting allowed the set to change from The Nether World (denoting the Bear Pit)  to The King’s Playhouse to The Tiring Room to Nell’s Dressing Room. There were three stage entrances all well used. The sound levels were good with all the actors projecting well and a few sound effects, especially crowd noise. Lighting resembled flickering candlelight and was dimmed and brightened as needed. Costumes were period appropriate and were sourced by the society.

The play took place at the point when females were finally allowed to act on stage (although they were often regarded as prostitutes and harlots) and featured five real life females who each had a story to tell. The dialogue was often raucous and bawdy but with tragic and emotional moments as well. The acting was intense and challenging with strong characterisation by everyone.

Helen Bridge, as Doll Common, opened the first act. This was a great role as a general cleaner also sometimes wardrobe help to the actresses and Helen performed well with just the right amount of deference. Eleanor Chandler, as Nell Gwyn was feisty and ambitious as an aspiring actress and she played this young and spirited role really well. She was combative in her relationship with Rebecca Marshall, played by Sarah Suckling. I enjoyed Sarah’s interpretation of this role as a tough and hard young woman ostracised by society after being tricked into a false marriage. She was a noted English actress but viewed as a sexual object by men. She was fiercely independent and Sarah carried this role well.

Mary Betterton was ably portrayed by Jenni Horn who was so plausible in this part. She was this ageing actress, completely in the shadow of her actor/manager husband and became a matriarch figure to the younger women. Her comedy timing was first class and her histrionic outbursts well staged. She was very dramatic and emotional and acted a clip of the role of Cleopatra really well. Sharon Carter, as the fifth actress Elizabeth Farley was initially subdued and quiet as an ex-preacher’s daughter as she tried to sell religious tracts. However she joined the other girls on stage and soon became just as feisty and determined to succeed as the others. Unfortunately a “liaison” led to an unwanted pregnancy and a botched abortion. The abortion attempted on stage was not for the faint hearted !

Finally the role of a stagehand, Loretta was ably delivered by Loraine Crook who doubled as the prompt. I think that she was redundant !

This was a thought provoking and historical play extremely well performed by the talented cast. Director Kerry King, whom I met after the performance, is to be congratulated for her creativity, casting and expertise.

Well done to everyone involved. An enjoyable and absorbing evening.

 

 

 

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