“Wilson and Bain are remarkable, deftly switching between the comedy and the subtler, more poignant moments”
Linck and Mülhahn is billed as an epic romance inspired by the true story of an 18th century gender pioneer. I expected it to be an interesting story, and an important one. What I did not expect, was for it to be funny. But funny it is. Very funny.
Much of this is down to Ruby Thomas’ script, which is both witty and bawdy, full of inuendo, and lightning-fast flirting. Owen Horsley’s direction pumps the play with energy, and it races along, aided by punk rock scene transitions by sound designer Max Pappenheim. Despite the heavy subject matter, the play rushes along with zest and spirit.
All that survives of this true story are the court transcripts, documenting Anastasius Linck’s life and their gender non-conformity. Ruby Thomas has framed this story as a romance between Linck and Catharina Mülhahn. There are shades of the screwball comedies in these lovers’ fast-paced flirtation. Both are radical, passionate about the contemporary political philosophy and enjoy a racy joke. Their sizzling romance begins with the feisty young Mülhahn (Helena Wilson) gawping at the dashing Linck (Maggie Bain) through a window. Her unabashed lust, and boldness, is refreshing in a period drama. Throughout the play the dialogue crackles out from the era, making the characters feel so real, it’s easy to forget they’re all long dead.
Both Wilson and Bain are remarkable, deftly switching between the comedy and the subtler, more poignant moments. A particular highlight of both performances is a quiet scene where they bathe one another. Their chemistry and connection are the heart of the play and there is no doubt that these two belong together.
Another stand-out performance is from Lucy Black, as Mülhahn’s mother. It’s a fascinating character, she is bitter, trapped in her internalised conventionality but hopelessly bored and lonely. Black seamlessly navigates the complexity of this role, making her at once both a villain and a victim of her own era.
Simon Wells’ set is modern and evocative. It is a revolving two-storey structure made of veiled screens and doors, which often light up in different colours, courtesy of lighting designer Matt Daw. This creates an illusion of privacy in more intimate scenes, but also the sense that their privacy is as flimsy as the screens themselves.
There are moments where the comedy muddles the emotional punch, especially in the second half. There is also a narrator, which at times feels melodramatic, and unnecessary given the strength of the story itself.
But it is a great story, and this play has spun it in a way which feels fresh, and vibrant. This is not the story of a downtrodden victim. It is the bold and unapologetic cry to leave shame behind and live your own truth.
“a thoroughly modern and uncompromisingly Queer story”
In an age of toppling statues, do we need heroes any more? Reading Rep has just begun its first ever season in a new home with a play which is partly about Oscar Wilde. This multi-facetted new adaptation of Wilde’s only novel ‘The Picture of Dorian Gray’ is an appropriate choice for a Reading-based community-focused professional producing theatre which has as its mission the transformation of lives through theatre.
The Rep’s new home is an impressive £1m conversion of a former Salvation Army hall on the east side of the town.
Phoebe Eclair-Powell and Owen Horsley’s smart and engaging play interweaves the story of a beautiful man who makes a Faustian pact with his own portrait with that of Wilde himself, who was imprisoned in Reading gaol after being found guilty of gross indecency with another man. For many of us, Wilde remains an inspiring and heroic figure, not only for his literary talent but also for the great injustice of his conviction. An official pardon was issued in 2017, the 50th anniversary of the abolition of the crime for which he was convicted.
Eclair-Powell and Director Horsley have made ‘Dorian’ a thoroughly modern and uncompromisingly Queer story. It is peppered with references to the hit TV series ‘Pose’, EastEnders and even Blackadder. Some 16 roles are shared by a lively and appealing cast of just three young actors.
In this fast-moving show we see Dorian in a Victorian artist’s studio as well as in the gay nightclub Heaven. We are also reminded of the death of George Michael. It features an excellent picture frame themed set by E.M. Perry and some effective lighting by Simeon Miller. There are also some gorgeous costumes supervised by Fran Levin.
Successfully casting a ‘wonderfully handsome’ character of ‘passionate purity’ is no mean feat. Andro Cowperthwaite is a most impressive choice for the role. His characterisation is committed and compelling, his delivery excellent and his physical presence entirely suited to the role.
Ché Francis tackles the difficult role of both Wilde himself and that of Henry Wotton, who convinces young Dorian of the extraordinary value and fragility of his own beauty. In this fairly breathless piece, their delivery sometimes lacked clarity.
Francis was partnered by RADA graduate Nat Kennedy who plays both the painter Basil Hallward and Wilde’s lover Robbie Ross as well as a number of other characters. These were vivid and often appealing performances which made much of the comic material in the play, partly at the expense of genuinely engaging this reviewer’s sympathy for Wilde’s predicament.
According to one psychologist, to be a hero, one has to be deviant. See the play yourself to decide if Dorian’s Wilde is a hero or not. Whatever you conclude, you will be guaranteed a rich and engaging evening from an enterprising company which deserves every future success in its impressive new home.
