“The soundscape of bombs rumbling in the background … allowed for a steady immersion into the world of the play”
Based on a true story by Worcester-based company, Anonymous Is A Woman, Think of England revolves around the role of sexuality in England during the Blitz. The company aim to focus upon telling the unheard stories of women through history, and after a rural tour the play now finds itself aptly in London taking place in one of The Vaults’ larger performance spaces.
The story follows two women, Bette and Vera, hired to host morale-boosting parties during the Second World War. The sound of the air-raid siren outside the theatre signals the beginning as the audience is ushered in to a dramatically lit space. You are warmly welcomed with sweets and song-sheets indicating the possibility of audience participation ahead. The soundscape of bombs rumbling in the background in combination with the wooden benches and selected wartime props allowed for a steady immersion into the world of the play. Bette and Vera begin to set up for the party when the atmosphere is interrupted by the arrival of three Canadian pilots each providing their own War archetype: the poster-boy who always ‘plays by the book’; the leery one who likes a drink; the innocent one who just joined in order to replace a recently deceased fellow soldier. The latter played by Stefan Menaul who gave an overwhelming warmness and charm to the role.
The story continues to explore sexual freedoms during the war, and how such a time of turmoil helped women feel increasingly more liberated, albeit whilst trying to keep up the morale during a difficult time of uncertainty and death. This was incredibly evident in the sound design of the play whereby dialogue and poignant moments were interrupted by a soundscape of bombs reminding us of the melancholy backdrop of the play.
I can imagine this play feeling even more immersive during the rural tour in village halls across the country, as you share the space with your local community it echoes closer towards the real setting of the piece and also means as an audience member you are more likely to participate. This was unfortunately lacking at times during the performance at The Vaults, as many audience members around me were, despite the best efforts of the performers, not interested in responding in order to heighten the levels of immersion for the audience as a whole.
Whilst the plot surrounded an interesting aspect of the female role during the war, at times the dialogue dragged its heels and towards the end depended heavily on a series of arguments that kept going back and forth. However, writer, Madeline Gould has found a lesser-known storyline relating to the women’s war effort and it is certainly a tale that needs to be told.
“This thought-provoking love story is one that I feel Dolly Parton would approve of”
Known for her big hair, big makeup and big voice, Dolly Parton is considered a living icon to many. She may have a ‘Barbie doll’ façade but in conjunction with this, she has used her business acumen to build the ‘Dolly’ brand into a multi-million dollar enterprise, proving you can have brains and beauty. It is understandable then, why playwright Jaswinder Blackwell-Pal uses Ms. Parton as the guardian angel and life coach within her new play The Poetry We Make. This touching work examines with sensitivity, the struggles of finding your true identity, and the upheaval to your life, and that of your loved ones, it may cause.
Elliott and Robin have been a couple for four years, steadily and lovingly travelling through the steps of a relationship, such as moving in together. However, Elliott’s world is rocked when she discovers that Robin has made the decision to start his transition into becoming a woman. Whilst metaphysically revisiting her memories, Elliott questions the legitimacy of their relationship, what it means to be a woman and where love can lie – all done with the supervision of her hero, Dolly Parton. Dolly offers words of wisdom through song and apparition, enabling Elliott to find peace and acceptance.
Elena Voce as Elliott and Elijah W Harris as Robin, have a natural chemistry and believability to their relationship that is lovely to encounter, making it more heartbreaking when you see the dilemma’s they both go through. Sam Thorpe-Spinks injects some needed humour as Robin’s best mate Paul, whose laddish behaviour subsides to present his affection and support of his friend’s decision. Mia Hall in full rhinestone-encrusted ‘Dolly’ garb is a lot of fun without being too gimmicky. Hall is a warm, sisterly figure to Voce’s Elliott, whilst also exhibiting her powerful singing voice through the musical interludes between scenes.
As strong as the performances are, there are certainly times when it feels let down by the writing. Jaswinder Blackwell-Pal does a good job at being thoughtful with the subject matter, without ever shying away from questioning what gender and identity means in this day and age. However, it is the construction of the scenes (particularly the flashbacks) and their placement within the production that can confuse. In summary, the content is great but the structure feels a little rough around the edges.
The Vaults space within the Waterloo tunnels are certainly not ideal for The Poetry We Make, being too narrow for any kind of wings. Nevertheless, the company manage, finding ways around this issue, creating the small and intimate environment that the story requires.
This thought-provoking love story is one that I feel Dolly Parton would approve of. Like she does in her songs, the play addresses serious, sometimes philosophical issues of the heart, whilst executed with warmth, sincerity and a small serving of humour.
