Post by mkb on Apr 22, 2022 1:46:53 GMT
I am feeling some indignation that, prior to Wednesday night, I had never heard of Ellen Wilkinson, a Labour MP and post-WWII minister, who was championing the working classes and womens' rights long before to do so became mainstream; and I don't think my ignorance was entirely my fault. Hopefully, Caroline Bird's new play will go some way to making Ellen's story more widely known; it deserves to be heard.
Over 150 minutes, we are transported through the life and career of this very driven, and not entirely likeable, lady from Manchester. It's a fascinating journey, but Bird does not fully solve the problem of how to cram so much narrative into the running time without sacrificing depth. The supporting characters stay largely under-developed. I couldn't help thinking that a film adaption might work better.
As Ellen, Bettrys Jones is on stage for almost the entire time. Her costume changes take place on set assisted by the cast, who also act as stagehands, shifting around the minimal scenery. It is a superlative performance from Jones; she really brings Ellen to life. But maybe not quite the real Ellen. This is a somewhat fictionalised Ellen, whose personal life and relationships have been second-guessed by Bird, since all of Ellen's personal materials were destroyed after her death, and no-one seems to know much about her private life as a result.
There is strong support from the entire cast. Some characters are played by actors of the opposite gender, and some fun is had with the carrying on and off of props. Gimmicks like these worked well in The 39 Steps and Operation Mincemeat, but in this more serious piece, I found them unnecessary distractions. This story needs to be told as realistically as possible, without whimsy.
Once or twice I was moved to tears, not by big moments, but by small details that resonated. It's powerful drama this.
Sadder was to see the Nottingham Playhouse less than half full. Ticket prices are reasonable, so that cannot be blamed. It's a mystery as to why the unsold seats are not being distributed through offers or given free to young students and seat-filling websites.
If you have the chance to catch this production (in Nottingham until 30 April, Lyceum Edinburgh 4-21 May, York Theatre Royal 24-28 May), I would grab it.
Four stars.
Act 1: 19:34-20:36
Act 2: 20:58-22:17
Over 150 minutes, we are transported through the life and career of this very driven, and not entirely likeable, lady from Manchester. It's a fascinating journey, but Bird does not fully solve the problem of how to cram so much narrative into the running time without sacrificing depth. The supporting characters stay largely under-developed. I couldn't help thinking that a film adaption might work better.
As Ellen, Bettrys Jones is on stage for almost the entire time. Her costume changes take place on set assisted by the cast, who also act as stagehands, shifting around the minimal scenery. It is a superlative performance from Jones; she really brings Ellen to life. But maybe not quite the real Ellen. This is a somewhat fictionalised Ellen, whose personal life and relationships have been second-guessed by Bird, since all of Ellen's personal materials were destroyed after her death, and no-one seems to know much about her private life as a result.
There is strong support from the entire cast. Some characters are played by actors of the opposite gender, and some fun is had with the carrying on and off of props. Gimmicks like these worked well in The 39 Steps and Operation Mincemeat, but in this more serious piece, I found them unnecessary distractions. This story needs to be told as realistically as possible, without whimsy.
Once or twice I was moved to tears, not by big moments, but by small details that resonated. It's powerful drama this.
Sadder was to see the Nottingham Playhouse less than half full. Ticket prices are reasonable, so that cannot be blamed. It's a mystery as to why the unsold seats are not being distributed through offers or given free to young students and seat-filling websites.
If you have the chance to catch this production (in Nottingham until 30 April, Lyceum Edinburgh 4-21 May, York Theatre Royal 24-28 May), I would grab it.
Four stars.
Act 1: 19:34-20:36
Act 2: 20:58-22:17
