“Edith Kirkwood manages to embody both the warmth and ferocity of Jane with commanding presence”
Despite being one the greatest romance writers of all time Jane Austen didn’t have the most successful love life, and in this ninety minute musical Rob Winlow examines the highs and lows of her dating history.
Playing Miss Austen is Edith Kirkwood, who manages to embody both the warmth and ferocity of Jane with commanding presence. Thomas Hewitt demonstrated an impressive vocal talent in his many roles, and although his portrayal of Jane’s first love interest Tom Lefroy felt a little flat he more than made up for it in the characters that followed.
Jenni Lea-Jones was a real standout as Mrs Austen, her clipped and lovingly judgemental tone was very reminiscent of Mrs Bennet and her voice was as strong as her characterisation. Adam Grayson was very warm and likeable as Jane’s father and one could really sense the bond between the two.
A particularly enjoyable scene depicted Mr Austen receiving rejections for his daughter’s works from snobby publishers (played excellently by Hewitt and Lea-Jones). Apart from another scene where Jane is bombarded with story suggestions from the public, there isn’t a lot about the response to her works. It would have been nice to hear more about her professional accomplishments, interesting as her personal life was.
Timothy Trimingham Lee’s direction allows the cast to navigate around the small stage area well, in particular during an amusing scene in which Jane attempts to escape from the hilariously creepy Reverend Blackall (Hewitt) during a ball.
The pace does feel uneven at points, particularly during a long dialogue between Jane and Dr Preston (Hewitt), but overall the writing feels grounded in reality despite the musical elements. The score has some powerful moments, particularly when the cast’s vocals are layered together. The duet between Tom Lefroy and Jane blended the actors’ voices together beautifully.
Arlene McNaught plays both the role of musical director and Cassandra Austen, Jane’s sister. Given that so much of what we know about Jane comes from letters between the sisters it felt very fitting that she would be ever present at the back of the stage. McNaught plays the piano and observes events silently, only interacting with the cast when she comforts Jane after their father’s death.
Though the final song, sung by Mrs Austen moments after Jane has passed away, was touching I was surprised that the show ended there. Perhaps a song about Jane’s legacy and accomplishments would have created a more positive impact on the audience rather than the slightly sombre mood we were left with.
This show is a great experience for anyone who’s curious about Jane Austen’s life, made even more enjoyable by the musical numbers and spot-on characterisation.
“just when you think you’ve got the hang of it, the dialogue pitches some sleight of hand that makes you think again”
I remember, as a child, being taught the basics of Poker by my elder brother. “It’s all about keeping your opponent guessing” he explained, “oh, and the bluff…”
There is something attractive about having to second-guess, about not quite knowing what’s going on. Maud Dromgoole’s slick two-hander deals this in spades; just when you think you’ve got the hang of it, the dialogue pitches some sleight of hand that makes you think again.
Twenty-one year old Matthew (Owen Frost) is sitting at a pub table waiting for Suzie (Victoria Porter) a slightly older, seemingly more worldly woman. Is it a first date? Is it a blind date? Is she an escort? After the initial teasing few minutes it transpires that Suzie has been asked to teach Matthew the rudiments of poker. The set, as such, is practically a replica of the pub downstairs below the theatre space, and the audience are invited to sit at various tables. A simple yet effective design, in keeping with ‘Threadbare Theatre’s’ aesthetic that focuses on the storytelling and the acting.
Meanwhile the world outside is succumbing to a lupine apocalypse, with the distant howl of wolves resembling air raid sirens. An allegorical yet slightly confusing sub plot, though interestingly it does add a certain tension.
But the focus is on the players. Director Lucy Linger has picked a couple of intuitive and quick-witted actors who bounce off each other throughout the seventy-minute poker game. She teaches, he studies, she attacks, he defends, they drink, he bids, she raises, he quits, they talk. Two very natural performances. Increasingly they lay their cards on the table, both literally and figuratively, and the more they learn about each other, the higher the stakes. Each scene demands a higher wager than the preceding one.
Shuffled together by Dromgoole’s insightful writing, it is in parts a comedy, a horror story, a political satire and a love story. But above all it seems to be about stripping away the bluff. When the characters realise that they have no option but to show their hand to each other, the game reaches its final climax. To find out what that is, you’ll have to take the gamble and go along for yourself.
