Theatre preview
Eleanor Pearson 11 October 2015 The Bear-Pit Politics of TheatreThe women of actress Nell Gwyn’s era fought hard for their place on the London stage. During the 17th century women were allowed to perform for the first time on the commercial stage as actresses. But the theatre was still very much a “bear-pit”, and the “playhouse creatures” (or players within) were as badly treated as the metaphor implies.
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Playhouse Creatures is about real women who were performing at the Theatre Royal at this time. April de Angelis penned it in 1993.
There are a lot of positive things to say about Pymble Players’ latest production.
Director Patsy Templeton has recreated Nell Gwyn’s world stylistically, and it works. Lynne Ho’s set is relatively simple, but it allows the focus to be on the actors. The beautiful costumes by Marisa Newnes also play a major role in establishing the historical setting.
There are a lot of positive things to say about Pymble Players’ latest production.
Director Patsy Templeton has recreated Nell Gwyn’s world stylistically, and it works. Lynne Ho’s set is relatively simple, but it allows the focus to be on the actors. The beautiful costumes by Marisa Newnes also play a major role in establishing the historical setting.
All of the female characters, including Doll Common (the one character who wasn’t actually based on a historical figure), are tragic in their own ways. But there is a sisterly bond between the female protagonists, which saves the play from becoming too morbid in Act Two.
The theatre the players work for is described as being “a foul place really, full of louts and lords.” The louts and lords in this play are represented by the Earl of Rochester (played with comic and irreverent zeal by Eugene Mitchell) and Otway (played with equal zest by Andrew Cougle).
The theatre the players work for is described as being “a foul place really, full of louts and lords.” The louts and lords in this play are represented by the Earl of Rochester (played with comic and irreverent zeal by Eugene Mitchell) and Otway (played with equal zest by Andrew Cougle).
The bear-pit analogy used by commentator Doll Common is an evocative one. For the actresses, life is a struggle. There is always a sense that if the women step out of line, they will be punished. When they try to take control of their own fortunes, their success is limited by the social mores of the time. We are reminded it’s the 1600s when one of the actresses retires because she is afraid of being burned at the stake for witchcraft. |
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The performances that stood out for me were Wendy Morton and Julia Griffith as Doll Common and Mrs Betterton, respectively. Morton’s drily witty caricature was layered with compassion for the actresses or “playhouse creatures”. When Doll reminisces about a female dancing bear that was brutally declawed by her father for the crime of showing her true nature, she also speaks for all the actresses in the theatre:
“I’m glad she went for him. She had spirit.”
Griffith’s portrayal of Mrs Betterton was by turns haughty and warmly vulnerable. At the end, despite being fired as an actress by her own husband, for being "too old", she remains poised and equanimous:
“I’m not above a woman selling oranges.”
Despite the gritty seriousness of some of the subject matter in Playhouse Creatures, de Angelis has managed to temper it with plenty of humour. The vignettes re-enacting actual performances were fun. Watch out for the classic sword-fight between two women in drag, and Cleopatra’s death scene.
Playing until October 31, 2015
“I’m not above a woman selling oranges.”
Despite the gritty seriousness of some of the subject matter in Playhouse Creatures, de Angelis has managed to temper it with plenty of humour. The vignettes re-enacting actual performances were fun. Watch out for the classic sword-fight between two women in drag, and Cleopatra’s death scene.
Playing until October 31, 2015