“Witt and Camp both maintain enviable vocal control throughout the musical numbers”
There can be no doubt that this piece lives up to its name. ‘Witt and Camp’ is a smart, sexy and skillful piece which examines the importance of feminine alliances. Inhabiting a variety of female characters, Charlie Howitt (Witt) and Holly Campbell (Camp) examine what happens when women tear each other down, as well as what can happen when they preserve and bolster each other’s ego, morale and heart. There is no exact plot – just as one would expect from a cabaret piece – but the recurrence of several characters allows the audience to find meaning in what could so easily have seemed a random collection of sketches.
A prime example of this comes from watching the women playfully compete to out-pun one another at an audience member’s expense. Awarding each other points for good ideas and laughing at each other’s jokes allows a warmth to emerge throughout the auditorium. In contrast, however, two squabbling opera stars (who delight the audience in an operatic rendition of several Nicki Minaj classics) attacking each other verbally and physically each time we meet them is nowhere near as affecting. As funny as the fist fighting here ought to be, the moment lacks energy and the room feels let down by it. Another example comes as Howitt battles the temptation to start smoking again, and it is discouragement from her friend that eventually prevents her from doing so. Yet again, the physical comedy is what lets this scene down. She begins to provocatively but somewhat ridiculously pull cigarettes from everywhere you could imagine, and the scene is only redeemed by the support present in the relationships within it.
In summary, Witt and Camp both maintain enviable vocal control throughout the musical numbers, and they have undoubtedly created some fascinating characters. If you see the piece, however, I urge you to look beyond the awkward physical comedy and the moments of try-hard sexiness to focus on watching women lean on each other in the face of abusive relationships, addiction and pub quizzes. If you’re able to look beyond the questions of “Why is she laying an egg?” and “Where did the nipple tassels come from?”, ‘Witt and Camp’ is a fun, saucy and amusing production.
“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.
