The Thrill of Love

A very warm welcome was waiting for me when I arrived at the Guildhall Arts Centre to watch St Peter’s Hill Players latest production. I was met by Lucy Kelley, wearing a striking, sparkly red scarf, and presented with a smile, copies of the excellent programme and the assurance that she would be my hostess for the afternoon. How lovely to be made to feel so special. As she ushered me through the foyer, passed the raffle, I noticed all the FOH team were sporting red attire, an effect that was sharp and smart. It wasn’t until the curtains opened that I realised these outfits were a deliberate choice to compliment the set; a clever detail, and one of many which made this show such a triumph.

The set was wonderful, beautifully designed by director, Jacqueline Dowse, and built by Jim Snee. It was a delightful monochrome vision, reminiscent of 1950s film noir, split through with splashes of red from the leather bar, the velvet tablecloths, the armchair and the beaded curtain. I loved the stylised feeling of the whole picture, the use of platforms, the shadowy edges of the stage, the simplicity of the set dressing; all created atmosphere whilst allowing the emotional weight of the story to take centre stage. Looming over all of this, throughout the whole play, was an ominous hangman’s noose, a constant reminder of the protagonist’s terrible fate.  

This play is based on fact, the true case of Ruth Ellis, a nightclub worker and convicted murderer who became the last woman to be executed in the United Kingdom. The Thrill of Love is a hauntingly intimate exploration of Ellis’s life, diving deep into the emotional undercurrents of her narrative, casting new light on a woman often reduced to a headline. The role of Ruth demands range and stamina, and Briony Sparrow has certainly proved herself to have both qualities in recent performances. Her portrayal of Eliza Doolittle last year in Pygmalion was a huge undertaking, and she has risen to the challenge again with another tour de force. Briony explored Ruth’s contradictions with great skill, beautifully balancing her outward glamour and charisma with the inner turmoil and vulnerability. The explosive, emotionally driven scenes were particularly well performed by Briony, a tangible desperation and despair emanating from within. Occasionally, I would have liked a little more stillness from the character at certain moments, but this a minor point in what was an excellent performance.

Much of the play tells Ruth’s story through her relationships with the women around her, each serving to reflect an aspect of her identity. Suzie Stevens was excellent as Sylvia Shaw, the manager of the West End Nightclub where Ruth worked, enigmatically drawing the audience into the seedy, smoky underworld the characters inhabit. Suzie was subtle in her delivery, a beautifully understated performance which, inadvertently, produced a tense undercurrent. She mastered Sylvia’s pragmatism, brisk manner and sharp-tongued quips, qualities which masked her emotional complexity and buried trauma. I loved Suzie’s shrewd glances and knowing expressions, she acted with her eyes, and they spoke volumes.

Rachel Armitage played Vickie Martin, another real-life figure, a model, socialite and contemporary of Ellis. This was a fabulous part and, although she only appeared in Act One, there was a super story arc for the character. I really enjoyed the vibrancy and energy Rachel brought to the role, and her bubbly, lighter presence on stage was fresh and interesting. Her cockney accent was broad but consistent and I loved the subtle detail in the change of Rachel’s accent as the play progressed. She was charming and funny, injecting moments of sharpness and defiance that hinted at something deeper. To contrast with Vickie, there was Doris Judd, the charwoman in Sylvia’s nightclub and performed by Verity Connor. Doris is working-class, middle aged and lives a life of quiet labour and observation, surreptitiously watching the world around her with a mixture of weariness, wisdom and care. The character should be compassionate, calm and dignified and Verity captured these qualities brilliantly. Her physicality was careful and had purpose which gave her performance warmth and emotional gravitas, her tone of voice was empathetic and kind.

The final lead role was Jack Gale, the detective assigned to investigate the murder of David Blakely by Ruth Ellis, a role taken by Andy Masters. Jack is not simply a law enforcer though, the character is there to act as a truth seeker, a reluctant moral conscience within the play and a narrator, drawing the audience into the story. On stage throughout, Andy was constantly acting, observing events from the peripheries of the narrative, listening from the shadows. It was another polished performance; Andy commanded the stage without overpowering, balancing an emotional restraint with an internal conflict with measured shifts in his tone, pace and expression.

Huge congratulations to director, Jacqueline Dowse, for assembling such a strong team of actors and for guiding and enabling them to bring their characters to life with real skill and dexterity. Her whole cast, including the supporting actors, Gus Sparrow and Daniele Petruzzo, had good stage presence and had clearly responded well to direction. There was an occasional moment where voices towards the back of the stage were lost, but other than that projection, diction and intonation was very strong. Jacqueline should also be commended for her attention to detail; her interpretation was a visual delight. Even details I didn’t think worked to begin with, had a very definite purpose, such as the white blanket of the park bench which initially I felt looked awkward, actually became the rug which was wrapped around a distressed Ruth. The sound effects were appropriate and good quality, the hair and make-up were correct for the period, and the superb costumes by Heather Butterworth were stylised and complimented the colour palette of the overall design.

However, the most remarkable detail was the lighting. It was exceptionally well conceived and realised by Laura Short, immediately transporting the audience to the moody ambiance of 1950s clubland. The use of pools of light to isolate areas of the stage was very effective in its simplicity. The clever use of red light created tension and a sense of foreboding, the shadowy borders of the playing area were threatening, the use of haze and stark white light underscored the play’s noir elements; all in all, beautifully designed lighting, some of the best of seen in my role as a NODA rep.

To conclude, this was a high-quality, sharply directed play with strong performances and outstanding production values, particularly the lighting. Many congratulations to director, Jacqueline Dowse, producer, Tony Hine, stage manager, Gus Sparrow, and their whole team for treating the audiences of Lincolnshire to such a gem of a show.

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