“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.
“The creative team have worked their magic to such an incredibly high standard”
Whether you are six or ninety-six, I can guarantee that the hilarity of this show will appeal to everyone. David Walliams, with his impressive career as a writer and comic actor (who can forget his first number one best seller ‘Gangsta Granny’? Or his TV co-creations ‘Little Britain’ and ‘Come Fly With Me?’) delivers this wonderful story which is adapted for the stage by Neal Foster (actor, writer and creator of The Birmingham Stage Company). I knew I was in for a treat!
It is a story of a young, recently orphaned girl Stella (Georgina Leonidas). Having survived a car accident in which both her parents were killed, her Aunt Alberta (Timothy Speyer) decides to take care of her and the family estate. How kind and responsible, you might think – but things are not what they seem. As the story unfolds, it appears that Aunt Alberta has stretched the truth and well, completely lied about most of it. Realising that she is in danger, Stella does what anyone would do; befriends a friendly ghost, avoids a terrifyingly large owl and climbs up the chimney, on more than one occasion.
Timothy Speyer brought the house down. His portrayal of Aunt Alberta was both funny but equally terrifying at the same time. From his screechy high-pitched wailings to his ability to rock a matching jacket/knickerbocker combo, it’s safe to say we counted ourselves lucky that we weren’t the ones locked in that tower under Alberta’s care. I have to say, my favourite character however, was the elderly and bonkers character of Gibbon, the butler (Richard James) who never failed to present the audience with a veil of absurdity.
The creative team have worked their magic to such an incredibly high standard. The use of puppets in the production, directed by Roman Stefanski (Polka Theatre, Wimbledon and creator of touring puppet shows ‘Charlie and Lola’ and ‘Sarah and Duck’) brings Wagner the owl to life and we are also treated to a scene that turns all of our characters into puppets!
Jacqueline Trousdale, the set and costume designer for the Birmingham Stage Company, has brought so many great things together for ‘Awful Auntie’. From the set, comprising of individual turrets that are spun around to reveal the inside of Saxby Manor, to the chimney sweep uniform of Soot, our friendly ghost.
The show highlights the fabulous work that goes into a production and is inspiring for theatre-goers of all ages. Such an entertaining spectacle – I want to see it again!
