Tag Archives: Louie Whitemore

Love All

Love All


Jermyn Street Theatre

LOVE ALL at Jermyn Street Theatre



Love All

“It’s a bold and brassy play that challenges convention, an idea eagerly and rather lovingly picked up by this slick and charming production”


Hear that a play is a Comedy of Manners and you will probably think of the waspish satires of the Reformation, or Oscar Wilde or Noël Coward classics, ripe with artificial plots and witty social commentary.

It is less likely that your mind will race to a work with a distinctly contemporary twist by one of the greatest crime writers of the Golden Age which features a character who may well be based on the writer herself.

The intriguing “Love All” by Dorothy L. Sayers was not a commercial success when it first opened in 1940 with its theme of choosing career or family and the sacrifices women are expected to make and has barely been seen on stage in 80 years.

It’s not hard to see why Jermyn Street Theatre thought it worth reviving the piece with its strong female characters and its tendency to be dismissive of romance in its current Temptation Season. What begins as a familiar and droll drawing room comedy, blossoms into a fun and feisty (one might even say feminist had Sayers herself not so disliked the term) period comedy that never once seems stale or dated.

It’s a bold and brassy play that challenges convention, an idea eagerly and rather lovingly picked up by this slick and charming production. In it a young actress besotted with a romance novelist runs off to Venice with him as he tries to pen his next bestseller about a repentant husband; but his wife, now a successful London playwright, refuses to divorce him. When the young actress hears of an exciting new playwright storming the stage back home, she knows she just has to be in her next hit – even though unaware of her true identity.

Unlike Sayers’ Lord Peter Wimsey whodunit “Gaudy Night,” in which women are merely tolerated by their male university peers, “Love All” confidently thrusts every one of its female characters into a position of commanding strength and it’s the male characters who come off the worst. The mistress notes that, “Every great man has had a woman behind him,” but the wife responds, “Every great woman has had some man or other in front of her, tripping her up.”

Emily Barber quickly lifts mistress Lydia to a level well beyond the dreamy inamorata unable to cope with her lover’s indecision. If the script itself ever allowed the character to be dreary Barber rapidly brushes it aside in a performance which relishes the fiery role of a good actress unwilling to accept the status quo.

Leah Whitaker, no stranger to the venue, is stupendous in turn as Janet (the nom de plume of Edith), the bored wife unwilling to be stifled by custom or etiquette, least of all by a patronising and colourless man. It’s a character very like Sayers’ fictional detective Harriet Vane, who in turn bore similarities to the author herself, and Whitaker ensures she is likeable and assertive without becoming bossily domineering.

The pair play off each other brilliantly as they grow to understand each other and realise their own happiness is far more important than life with languid chauvinist Godfrey (an assured performance from Alan Cox as the narrow-minded, callous dinosaur who fails to recognise the abilities and humanity of those around him) as they prowl around like lionesses stalking their unfortunate prey.

Karen Ascoe is wonderful in two roles: Judith, the friend in Venice, with the most dazzling array of facial expressions and pauses which speak volumes, and then Stella, the no-nonsense secretary in London.

Bethan Cullinane’s Mary is a careful study of loyalty and devotion, steering through layers of awkwardness and it’s a relief the play avoids what appears to be a predictable ending for a character who has her own strength.

Daniel Burke as actor Michael and Jim Findley as Henry fall into the category here of men who fare badly at the hands of a writer wanting to explore the liberation of women in professional and domestic life, but they do well to ensure their parts are three-dimensional and enjoyable.

The set is an extraordinary work of art by Louie Whitemore, transforming almost miraculously between Acts One and Two in such a small space from a Venetian apartment complete with giant Canaletto on the wall to a London drawing room used by Janet as her office – as a voiceover tells us during the interval, switching from the Grand Canal of Venice to the Grand Junction Canal in London.

For Sayers’ fans there’s even a play poster on the wall for Janet’s hit “Mare’s Nest” with the actors’ names all being characters from her novels or real life relationships. Not that there are many quiet moments to play that Who’s Who? Game but it’s a clever design nod.

“Love All” represents a sad but triumphant farewell to director Tom Littler who, as Artistic Director of Jermyn Street Theatre, has turned this hidden gem in Piccadilly into something sparkling, a powerhouse venue to be taken seriously. For his final (18th) production here he has created something to remember and savour before heading off to the Orange Tree in Richmond in October.

Defying all expectations of clichéd creakiness, Jermyn Street Theatre delivers a sparky revival of this surprisingly overlooked play in a manner as uncompromising as its writer, adding a welcome touch of Piccadilly panache.



Reviewed on 13th September 2022

by David Guest

Photography by Steve Gregson






Previously reviewed at this venue:


This Beautiful Future | ★★★ | August 2021
Footfalls and Rockaby | ★★★★★ | November 2021
The Tempest | ★★★ | November 2021
Orlando | ★★★★ | May 2022
Cancelling Socrates | ★★★★ | June 2022


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The Game of Love and Chance

The Game of Love and Chance


Arcola Theatre

The Game of Love and Chance

The Game of Love and Chance

Arcola Theatre

Reviewed – 19th July 2021



“The Arcola Theatre continues its well deserved reputation for offering quality theatre with this show”


Pierre de Marivaux’s classic comedy The Game of Love and Chance has just opened in a sparkling revival at the Arcola Theatre in Hackney. The eighteenth century script is newly adapted by Quentin Beroud and Jack Gamble (who also directed) and brought up to date in a modern dress production. Staged outdoors (a blessing on a hot and sticky July night) there is a lot to enjoy in this show, and the energetic performances of the cast of six.

The plot of The Game of Love and Chance is simple enough. It’s a classic because of the way in which Marivaux sets it up, and then turns the screws by introducing complication after complication. Sylvia, a wealthy and aristocratic young woman, is expecting a visit from her betrothed, Dorante, whom she has never met. Sylvia begs her father for an opportunity to get to know him without his knowledge of who she really is. She wants to change places with her maid Lisette. She is a typical Enlightenment woman, more afraid of a man’s mind (or lack of it) than his heart. Her father Orgon readily agrees, having just received a letter from Dorante’s father proposing that Dorante woo Sylvia, also dressed in a servant’s disguise. Both fathers want to give their children the chance to fall in love without the distraction of wealth or family position. Of course it all gets hilariously convoluted before Dorante and Sylvia (and their servants Lisette and Harlequin) are happily, and appropriately, mated in their “game of love and chance.”

The Game of Love and Chance owes a lot to the Italian tradition of commedia dell’arte, and despite the modernized setting, adaptors Beroud and Gamble have remained true to that. There are multiple opportunities for lazzi, or comic routines, both on and off stage. The set, designed by Louie Whitemore, and tucked into a corner of the Arcola Outside, is the perfect space for all the comic business that must enacted before the lovers are finally united. “Marivaudage “ or the banter that Marivaux’s dramas are famous for, is also present, not only on stage, but also in the delicious back and forth that Lisette (played by Beth Lilly) engages in with the audience. The script keeps the audience laughing with a lively mix of rhymes (“humble crumble”), seemingly on the spot improvisation, and opportunities for sight gags. The actors are clearly enjoying themselves performing it, and spread that joy around the auditorium.

And it is the performances that really make this revival shine. Updating dramas from the seventeenth and eighteenth centuries can always be problematic in that they seem just modern enough for us to understand intuitively, but then there is all that class warfare business and discomfort with the idea of arranged marriages to overcome, before we can truly relax and enjoy the situation. Beroud and Gamble’s modernization of The Game of Love and Chance is not immune from the dilemmas of translating the eighteenth century to the twenty-first. Some of the solutions do seem a bit trite. Fortunately for us, however, the cast of this adaptation of The Game of Love and Chance know just how to settle us down. The whole cast works well as an ensemble, but the couple who really hold the whole thing together are the boisterously funny Ellie Nunn as Sylvia and Ammar Duffus as her lover Dorante, or, as the hilariously and spontaneously named Catflap, in his servant disguise. (You have to be paying attention to the set to see how this comes about.) Nunn and Duffus play effortlessly off one another, but it’s Duffus’ intense sincerity that keeps the whole situation grounded when the comic complications threaten to get out of hand. Beth Lilly and Michael Lyle (as Harlequin) are the other pair of seemingly mismatched lovers, and manage their lazzi (and Marivaudage) with confidence and flair. David Acton, as Sylvia’s genial father Orgon, and George Kemp as her annoying brother Marius, complete the energetic team.

The Arcola Theatre continues its well deserved reputation for offering quality theatre with this show, and it’s always worth the journey to see what they are producing. The Game of Love and Chance could be seen as a bit of an outlier in their repertoire, but if you’ve never seen Marivaux’s work, and are curious, this is a decent introduction. Just remember to take cold water with you if it’s a hot night. Laughter is thirsty work.



Reviewed by Dominica Plummer

Photography by Alex Brenner


The Game of Love and Chance

Arcola Theatre until 7th August


Previously reviewed at this venue:
The Narcissist | ★★★ | Arcola Theatre | July 2021


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