Filed under: Arts, creativity, humour, liberal, life, politics, Scotland, theatre | Tags: Edinburgh, Edinburgh Theatre, entrepreneurialism, female entrepreneurs, lesbian love, lesbian relationships, lesbians, Scottish Theatre, stellar quines, the age of arousal, the emancipation of women, The Lyceum, the remington typewritter, The Royal Lyceum, The royal lyceum theatre company, the sexual revolution, victorian britain, women and work, women's liberation
Just as Stanley Townsend playing Eddie Carbone frequently accused Rodolpho to be “not right, just not right” in the previous Lyceum production of A View From The Bridge, so a central plank of Muriel Romanes’ joint production with The Lyceum and Stellar Quines is the notion of homosexuality that cannot be said by it’s name; here Lesbian ladies are merely “odd”. But it amounts to the same.
In “A View” Rodolpho’s homosexuality was imagined by Eddie as a construct with which to castigate his foe; here it is a celebration of the two lead characters, Rhoda Nunn and Mary Barfoot who despite being a generation apart in age are Victorian entrepreneurs with a taste for each other as more than just business partners.
This could have made for a truly shocking dramatic premise but it’s shrugged off as “odd”, perhaps, but really nothing to get one’s knickers in a twist about.
Although I said previously ‘Our two leads’ this is in actual fact as ensemble a show as one could imagine, they are backed by a chorus of gaggling Macbethian sisters played outstandingly by Alexandra Mathie (truly amazing) and Molly Innes as the older, hopeless spinsters and Hannah Donaldson as the “pretty” sibling with a chance.
“Overbred” by 500,000, out of a population of two million, Victorian Britain needed women to look good if they were to have any chance in a male buyers’ market and the only two women in our cast of six that would have any chance are “pretty” Monica Madden and committed Dyke, Roda Dunn. The fact that they both fall for the same man makes for intriguing developments as the play unfolds, and surrounded by six women of exquisite talent Jamie Lee as Everard Barfoot has his work cut out to fly the flag for us blokes. That he succeeds with panache, wit and charm is testimony to his excellent performance.
This is a play that is richly and deeply textured; interestingly realised with beautifully subtle sound, video and lighting design and costumes (designed in a third year project by Edinburgh School of Art Students) that for me were the best I’ve seen on the Lyceum stage in a long time. Interestingly, my wife hated them. I’m so much more in touch with my feminine side it would seem.
This is an absorbing two hours of entertainment with a feisty and often hilarious script that batters along holding you firmly in its thrall throughout.
It’s a gem.
And it’s a real thought piece too; at its centre is the debate over the role that “work” played in liberating women from the shackles of domesticity. The arrival of the Remington typewriter to UK shores, and made centrepiece of this show, both physically and stylistically is a clear metaphor for women’s emancipation. But is it all good? Has it served its function. After all, by the 1960′s the typewriter was the focus for feminist ire as it had created exactly the opposite effect that this late 19th century passport to freedom so obviously delivered.
Motherhood and child rearing is examined too, suggesting that perhaps domesticity is not so bad. But in the play it’s wrapped up in sexuality and the power women (still) hold over hapless men who can’t see further than the end of that organ that so drives so many of us.
It’s complex indeed (just look at the number and variety of tags I’ve used in this post). And I’m not sure you’ll get all the answers or unravel all the themes in one sitting Certainly it’s more than worthy of second helpings. So, go, indulge yourself and maybe you’ll be back for more.