Dundee Rep
3 stars
On Halloween, the streets of Dundee were awash with scantily clad witches, quines and naughty nuns making spectacles of themselves with unapologetic abandon. Watching April de Angelis’ 1993 historical look at how actresses became respectable rather than bits of rough to keep the front row toffs happy, one is reminded of the play’s last line. Because when orange-selling urchin turned monarch’s moll and self-made woman reclaims her fifteen minutes of infamy by pointing out to her audience that “We can say anything we want now”, in terms of female emancipation, one wonders exactly how far we’ve come.
Thrown back-stage with Judith Williams’ Nell and her 17th century peers drawn from real characters immortalised by Samuel Pepys, the five women on offer tell a story of exploitation, pretty faces and survival of the fittest still played out today. Irene Macdougall’s Mrs Betterton’s seasoned professional is being squeezed out by younger models such as Emily Winter’s Rebecca Marshall and Claire Yuille’s Elizabeth Farley, despite being wedded to the theatre’s leading man. Ann Louise Ross’ Doll Common’s best years may be behind her, but like Jordan prototype Nell, at least by the end she’s still standing.
Given a life beyond mere archetypes, as street-smart and soap opera sassy as de Angelis’ characters are, the play isn’t saying much more about an actress’ lot than All About Eve did on the big screen. Equally age-centric pecking orders can be seen too in any strip-joint sexploitation documentary going. Beyond its final rallying cry, the play’s finest moment comes in Mrs Betterton’s late understanding of Lady Macbeth. Its prediction of psychological realism suggests method and a whole lot more in her madness.
The Herald, November 2nd 2007
ends
3 stars
On Halloween, the streets of Dundee were awash with scantily clad witches, quines and naughty nuns making spectacles of themselves with unapologetic abandon. Watching April de Angelis’ 1993 historical look at how actresses became respectable rather than bits of rough to keep the front row toffs happy, one is reminded of the play’s last line. Because when orange-selling urchin turned monarch’s moll and self-made woman reclaims her fifteen minutes of infamy by pointing out to her audience that “We can say anything we want now”, in terms of female emancipation, one wonders exactly how far we’ve come.
Thrown back-stage with Judith Williams’ Nell and her 17th century peers drawn from real characters immortalised by Samuel Pepys, the five women on offer tell a story of exploitation, pretty faces and survival of the fittest still played out today. Irene Macdougall’s Mrs Betterton’s seasoned professional is being squeezed out by younger models such as Emily Winter’s Rebecca Marshall and Claire Yuille’s Elizabeth Farley, despite being wedded to the theatre’s leading man. Ann Louise Ross’ Doll Common’s best years may be behind her, but like Jordan prototype Nell, at least by the end she’s still standing.
Given a life beyond mere archetypes, as street-smart and soap opera sassy as de Angelis’ characters are, the play isn’t saying much more about an actress’ lot than All About Eve did on the big screen. Equally age-centric pecking orders can be seen too in any strip-joint sexploitation documentary going. Beyond its final rallying cry, the play’s finest moment comes in Mrs Betterton’s late understanding of Lady Macbeth. Its prediction of psychological realism suggests method and a whole lot more in her madness.
The Herald, November 2nd 2007
ends
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