Dos Mujeres Theatre Company is staging an intervention, a grotesquely relevant social commentary on the cultural creation of ‘fully functioning and obedient women’. The Second Sex is a masterful black comedy, navigating the taboos of the feminine mystique with ease and poignancy. As we enter the theatre, the audience are confronted with six women, sitting uniformly in hospital gowns, staring blankly at each other; these are the inpatients of the feminist rehabilitation centre. Over the following 40 minutes, Dos Mujeres lead us through a cynical and hilarious series of lessons in the ‘proper duties of woman’ including, the performance of oral sex, the plucking of one’s body hair and the necessity of never having an opinion.
With no set, minimal props and simple technical composition, the genius of the concept and the skill of the ensemble are laid bare; fluttering between more naturalist comic scenes of the rehabilitation centre and physicalised sections that expose a darker undertone to the comedy. The short run-time leaves the piece feeling a little more like a proof-of-concept, than a finished show, and the great shame of the piece is the necessity of its brevity.
It’s overtly political undertones limit its run-time, with too long risking becoming evangelical, but too short leaving the audience with whiplash. The intermittent ensemble physical sections are beautifully arranged, but can sometimes feel a little confused; perhaps missing a more clear progression or through-line that links the physicality to the main narrative. The darker tragic undertones that emerge in full-force at the close of the piece could be more evenly scattered throughout the piece, to really emphasise the irony and danger of the comic sections.
Utilising a variety of mechanics and set pieces to highlight the inequities of womanhood, accompanied by a sardonic wit that leaves the audience rolling in the aisles, The Second Sex kills us with comedy before jolting us with the very serious issues that follow the traditional submission of women; in the final section, physical abuse and sexual violence are tackled with a subtlety and honesty that shocks the audience into contemplation. A high-concept and stylised ensemble piece, The Second Sex is incredibly intelligent and enjoyable, following in the footsteps of it’s namesake, Simone De Beauvoir, the piece undermines concepts of gender with a witty cynicism that demands its audience’s reflection.
Fans of Lucille Ball will no doubt have already bought their tickets to see I Loved Lucy, a revealing play that tells the story of her relationship with Lee Tannen in the last 10 years of her life.
Ball was for many years one of the most recognised and best loved entertainers in the world, featuring in over 80 films and hundreds of TV shows. Between 1951 and 1957 she starred in 180 episodes of I Love Lucy – a forerunner of today’s reality shows. By anyone’s measure she was the queen of comedy.
After two successful runs last year at the compact Jermyn Street Theatre, I Loved Lucy comes to the West End’s Arts Theatre, a 350 seat proscenium arch theatre for a strictly limited run until 2nd September. The new production extends the original with more content and what looks like a bigger budget.
Sandra Dickinson is again Lucy and Matthew Scott is making his West End debut as Tannen having recently been cast in the Broadway version of An American in Paris.
Tannen first met Ball as a child and formed a close relationship at a time her star was waning and when much of her time was spent away from the public gaze. In 2011 he adapted his bestselling memoir for the stage. We get a closer look at the real Lucille, what she was really like, how she felt and chose to live. It is a unique look at a unique, complicated, needy and often sad woman.
The set is quite bare with a table and chairs that are the focus for their backgammon games. There is a large Hollywood style Lucy sign to the rear and the stage is framed with historic photos of Ball, some including Tannen. Lighting is simple yet effective and both actors project well filling the auditorium with clear dialogue.
Those wanting the show to be exclusively about Ball may come away slightly disappointed as it is a series of anecdotes from Tannen’s viewpoint and his character has an equal share of this two hander.
The West End Theatreland is a competitive area for ticket sales and filling the venue may be a challenge particularly as it is likely those under 30 may not be aware of the importance of Lucille Ball who died in 1989.
However this is a show that deserves full houses as it features two quite amazing actors. Sandra Dickinson is majestic and totally believable as Ball. Her timing and presence are first class. Matthew Scott demands attention and brings Tannen to life. Both were word perfect and fully deserved the standing ovation given.
Overall this was an enjoyable theatre visit. The play is funny yet also tugs at the heart strings but mainly it is a fitting tribute to the Lucy ‘The Queen of Comedy’.
