Emer McDaid Archives - thespyinthestalls.com

★★★★

“Justin Audibert’s direction infuses the production with energy, enhancing the psychedelic ambience of the time”

Redlands, a new play by Charlotte Jones, deliciously delivers an enthralling portrayal of a pivotal moment in cultural history. This fictionalised account of the infamous 1967 trial of Mick Jagger and Keith Richards in the quiet Sussex city of Chichester explores generational conflict and societal change, highlighting the tension between The Establishment and the emerging rock and roll aristocracy.

In the summer of 1967, Keith Richards hosted a party at Redlands, his country house in West Wittering, near Chichester. Their revelry is abruptly interrupted by a police raid, leading to Mick and Keith’s arrest on drug charges. Jones deftly captures the clash between the youthful idealism of figures like Mick and Keith and the entrenched authority represented by Michael Havers, the leading QC defending them. This is no straightforward courtroom drama; it masterfully blends history and fiction, capturing the spirit of an era while examining the generational rifts that define it.

Central to the narrative is 17-year-old Nigel Havers, son of The Rolling Stones’ lawyer and an aspiring actor. Serving as a meta, fourth-wall-breaking narrator, he bridges the old guard and the new generation. Here, Nigel develops a relationship with Marianne Faithfull, whose portrayal in the tabloid press after the raid prompts her to re-evaluate her career and relationships. Their shared background of family and societal expectations, along with noble titles, adds emotional depth, highlighting the personal stakes amidst the public spectacle of the trial.

The show transcends the typical courtroom or coming-of-age drama. It examines the class system of late sixties UK, the reliability of the press and justice system, and the nature of fandom and fame. With ten songs from the Rolling Stones and Marianne Faithfull’s back catalogue performed live by cast members and an on-stage band, the play captures the exuberance of the era. Jasper Talbot (Mick Jagger) and Brenock O’Connor (Keith Richards) excel in their roles, skilfully channelling the unique moves and charisma of their real-life counterparts, particularly in musical numbers featuring classics like “Ruby Tuesday,” “Jumpin’ Jack Flash,” and “I Can’t Get No Satisfaction.” Emer McDaid conveys the complex emotions of Marianne Faithfull, transitioning from the wild atmosphere of the party to moments of vulnerability in her relationship with Nigel.

In addition to father and son Michael Havers QC (Anthony Calf) and Nigel (Louis Landau), we also meet Michael’s father, Cecil “Bongo” Havers (Clive Francis). Despite being a prestigious lawyer and judge, Cecil is depicted as having more in common with his grandson than with his stuffy son. This trio adds both emotional depth and humour to the narrative as they navigate the weight of generational expectations.

Justin Audibert’s direction infuses the production with energy, enhancing the psychedelic ambience of the time. The vibrant set (Joanna Scotcher) and evocative lighting (Matt Daw) immerse everyone in the chaos and excitement of the era, creating a truly dynamic experience. Chichester’s thrust stage brings the action close to the audience, enhanced by direct interactions between performers and audience. Actors dance in the aisles, and two small platform stages above the exits serve as additional performance spaces during the musical numbers, as well as for commentary by journalists and witness boxes during the trial. The hardworking ensemble cast take on multiple roles, from comedic police officers to legal staff to journalists, bringing their characters to life with charisma and depth. Standouts include Adam Young, who plays both the drug dealer sent to Redlands and the News of the World journalist believed to have sent him there, as well as Havers’ other son, Philip. Akshay Sharan shines as Michael Havers’s legal colleague, who is smitten with Jagger.

Redlands cleverly juxtaposes the liberated spirit of the ’60s with the conservative values of an older generation, creating a dynamic commentary on the cultural upheaval of the time, alongside contemporary themes of youth culture and the struggle against societal norms. This celebration of rock and roll rebellion serves as a timely reminder that the clash of ideals continues to shape our world. The audience in Chichester was more than satisfied, despite the city and its residents being the butt of many jokes.

Witness for the Prosecution

London County Hall

Reviewed – 30th September 2021

★★★★★

“Lucy Bailey’s staging is inspired, clever and inventive”

Situated on the South Bank of the Thames, London County Hall is watched over by Big Ben, the Houses of Parliament and the London Eye. Sitting at its centre is the magnificent splendour of the octagonal Council Chamber. Since the First World War it served as the headquarters of local government for London. Back in the 1980s Ken Livingstone would lock horns with Margaret Thatcher while the façade of the Hall served as a billboard for opposition slogans; seen from the austere, Gothic windows of the Palace of Westminster. Today the banners tell a different story, inviting us to witness another courtroom battle altogether. Agatha Christie’s “Witness for the Prosecution”, published as a short story in 1925 in a weekly pulp magazine, was eventually adapted by the author herself into a play which opened in London in the fifties. Lucy Bailey’s unique production has been running at London County Hall for four years now and, although still far behind ‘The Mousetrap’ it looks set to follow suit in its longevity.

We are summoned into the chambers, settling into the leather-bound, high-backed seats; some of us in the gallery and a dozen hand-picked audience members led to the jury’s bench. It is the perfect setting for a courtroom drama. The solemnity of the atmosphere would seemingly leave little for the design team to do, but Chris Davey’s lighting and, in particular, Mic Pool’s chilling sound design immediately let you know the proceedings are about to start. One of the most stunning preludes in the West End then gives way to the action that unfolds before us: a story of truth and lies, guilt and innocence, defence, and prosecution. A tale where words are twisted as ruthlessly as the plot.

Leonard Vole (Joe McNamara), a ‘between-jobs’ mechanic has been accused of murdering a wealthy, older woman with whom he struck up a close friendship. A friendship that Detective Inspector Hearne (Christopher Dickens) casts in dubious shades. Vole’s wife (or is she?) stands by him (or does she?). Sir Wilfrid Robarts takes on his defence and believes in his innocence (or does he?). It would be criminal of me to answer the questions here, though I think I can get away with saying that any second guessing is probably a waste of time.

Agatha Christie was fascinated by the idea of deceiving an audience, and she was an expert at it. We don’t know who’s done what until the very end. There is a huge responsibility for a stage adaptation to respect that, and this cast would have won her trust in the strike of a judge’s gavel. McNamara’s Leonard Vole is the picture of innocence and naivety, digging a hole for himself with his self-proclaimed candid honesty. But you get the sense he has dug his own bunker too, into which he has stashed the real truth. A spell-binding performance that has us questioning as much as the prosecution. Jonathan Firth as Sir Wilfrid takes on his defence with a sparkling, almost camp relish. Firth is a delight to watch, commanding the stage. Most of the action takes place in the courtroom but some of the most poignant scenes take place in Wilfrid’s chambers. The banter between Firth and the wonderful Teddy Kemper (playing defence lawyer Mr Mayhew) gives a true insight into the dichotomy and duplicity required to tread the boards of the courtroom.

Into this world steps Romaine Vole, the German refugee wife of the accused, shaking the foundations of this male oriented inner circle. Emer McDaid’s coquettish, cool, calculating charisma confounds both the council and the audience. She supports her husband’s alibi, then denounces it, then… well – my lips are sealed. She is a woman you ‘wouldn’t trust with your laundry’. A riveting performance, in line with the rest of the cast. Lighter moments are thrown in with precision timing, courtesy of Martin Turner’s dry and sardonic Mr Justice Wainwright.

Lucy Bailey’s staging is inspired, clever and inventive. Despite the head start she was given by the setting. As the play nears its close the jury are asked to deliver their verdict. You think that’s that. But no, there’s more. I shan’t reveal what the summing up is. But, ladies and gentlemen, you should have no difficulty reaching your verdict on this glorious adaptation. It really must be witnessed.

REDLANDS at the Chichester Festival Theatre

★★★★

“Justin Audibert’s direction infuses the production with energy, enhancing the psychedelic ambience of the time”

REDLANDS at the Chichester Festival Theatre

Reviewed on 29th September 2024

by Ellen Cheshire

Photography by Ikin Yum

Previously reviewed by Ellen:

REDLANDS

REDLANDS

London County Hall

Reviewed – 30th September 2021

★★★★★

“Lucy Bailey’s staging is inspired, clever and inventive”

Reviewed by Jonathan Evans

Photography by Ellie Kurttz

Witness for the Prosecution

London County Hall until August 2022

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