Tag Archives: Rosie Abraham

Pottering About

ANNA OF THE FIVE TOWNS

New Vic Theatre, Newcastle under Lyme, Wednesday 31st May, 2017

 

It’s 150 years since the birth of Stoke-on-Trent writer, Arnold Bennett.  To commemorate this, the New Vic has commissioned this new stage adaptation of one of his Stoke-based novels.  The theatre has always sought to offer material about its local area and its people, but will this piece with its Stokie accents and dialect speak to anyone who comes from a town other than those listed in the ‘five’?

Yes, of course it does.

Writer Deborah McAndrew skillfully distills the events of the book to a couple of hours traffic on the stage, with strong characters and economic narrative techniques so that time and place are evoked superbly.  The costumes add to the authenticity, while the set, designed by Dawn Allsopp – all-brick floor (industry built this place), with a sunken rectangle for Anna’s dining room at the centre, (the hub of Anna’s world around which all other events take place) – brings style and stylisation for this otherwise naturalistic piece.  Daniella Beattie’s lighting mullions the set with patches, evoking architecture as well as mood – and there is a special effect at the end that is startlingly powerful.

Anna Tellwright (Lucy Bromilow) has been housekeeper for her father and mother figure for her little sister almost her whole life.  Dad (Robin Simpson) is a bit of a tyrant.  He feels his grip slipping when Anna comes of age and inherits a shedload of money.  Naturally, being a man, he takes control of her finances: we can’t have women being all independent of men, can we?  Bennett, writing in 1902, long before suffrage, captures the fragility of the traditionally masculine.  Dad can only lash out, tighten the reins and almost combust as he fears his position being edged into the side-lines.  Simpson is excellent as this incendiary man.  Mr Tellwright’s explosions of rage are like fireworks going off unexpectedly.

Bromilow is no shrinking violet Cinderella.  Driven by a sense of duty, she finds it difficult to enjoy her new wealth.  Her eyes are opened to the human cost of capitalism when a man is driven to suicide because he cannot make his repayments.  She glimpses what fun money can bring, when she dares to dip her toe into the waters of independence, but she never truly gets to let her hair down; her hedonism consists of the purchase of some new clobber and a fortnight on the Isle of Man – which she ends up being spending as nursemaid to a friend with the flu.  Anna’s lot is not one of frivolity and profligate spending.  She maintains the same straitlaced starchiness throughout, whatever she’s doing.  I would like to see Bromilow’s Anna let rip, just once, and lighten up!

In contrast is never-lifted-a-finger-in-her-life, well-off young woman, Beatrice Sutton (Molly Roberts, who brings colour in her dresses and humour in her portrayal).  Also delightful is Rosie Abraham as Anna’s little sister Agnes: it is through Anna’s sacrifice that Agnes is permitted a childhood rather than a life of domestic service.

Now rich, Anna becomes inexplicably attractive to her chum from Sunday school, young gent Henry Mynors (a suitably dapper Mark Anderson) and she accepts his marriage proposal – almost impetuously.  Meanwhile, decent and hard-working Willie Price (not a porn name!) offers a chance at true love.  Benedict Shaw is perfectly placed as the upstanding Willie, handsome and down-to-earth.  Who will Anna choose?  Unable to follow her heart, it is her sense of duty not any taste for the high life that leads our heroine to make her choice – with tragic consequences.

The production is superb: strong on atmosphere, with choral singing of hymns and folk tunes covering scene transitions.  Kudos to musical director Ashley Thompson for the vocal work, accompanied by the occasional brass instrument for added local colour.

Director Conrad Nelson manages the changes of tone so that we are drawn into this society and enjoy our time there.  The interval comes and you realise that while you’ve been seduced by the sound and the visuals, not much has happened really.  The drama is mostly condensed into the second half.  Bennett’s story is at heart a melodrama but he goes against the norms of the genre: the happy ending here is that duty has been served, rather than Anna getting the man she loves and deserves.  And that’s no happy ending at all.  For the time being, female independence has been shut back into Pandora’s box…

Yet another example of excellence from all departments at the New Vic.  With Stoke-on-Trent bidding for ‘City of Culture 2021’, this theatre must surely be the keystone of the campaign.

Anna

Cheer up, duck. Lucy Bromilow, Mark Anderson and Benedict Shaw (Photo: Steve Bould)

 


Talking Shop

DIANA OF DOBSON’S

New Vic Theatre, Saturday 7th May, 2016

 

Written in 1908 by Cicely Hamilton, this forward-thinking piece is given a lively revival by the team at the New Vic.  It begins in the dormitory of Dobson’s store, where the shop girls are getting ready for bed.  One of them, the rebellious Diana (Mariam Haque) decries their lot and the starvation wages they are forced to accept.  She’s a firebrand and ahead of her time.  But then she gets news of a surprise inheritance – things turn a bit Spend, Spend, Spend when she decides to blow the lot during a month of living entirely for pleasure.   She winds up at a posh hotel in Switzerland where she is accepted among the toffs, as long as she gives the impression that there is plenty of moolah in her coffers.

With music hall songs interpolated between scenes, Abbey Wright’s likable production creates an Edwardian feel – not least due to Lis Evans’s design work with costume and set.  There is a chirpiness that runs through the show – from Rosie Abraham’s perky Miss Jay, to Kate Cook’s bright-eyed and grasping Mrs Cantelupe.  It has an authentic feel – the songs really help convey the sense of period.  I particularly enjoyed Brendan Charleson’s nouveau riche Jabez, Anne Lacey’s Mrs Whyte-Frazer (along with a couple of other roles that demonstrate versatility) and the sterling support from Susannah Van Den Berg, Ceri-Lyn Cissone and Claire Greenway.  Adam Buchanan shines as well-to-do wastrel Victor, who learns what is truly valuable in this life, and the superlative Andrew Pollard shows us all how it’s done with a delicious song to close the first half, a kind of Sweet Transvestite meets The Lumberjack Song, through the prism of the Edwardian Music Hall.  Absolutely delightful.  Pollard also displays his strengths as a character actor with a warm portrayal of a bobby on the beat.

Unfortunately, the fun and engagement engendered by the songs is not always present in the action.  I find myself interested in the social commentary and the politics rather than affected by Diana’s exploits or her plight.  I think it’s because the leading lady sounds like she comes from another time – she’s a bit too 21st century in her tone and plays it all on the same level.  A bit more light and shade, and a bit more sparkle and pluck might make us fall in love with her a little bit.  Instead, I find I just don’t care.

Yes, the play still – unfortunately – has much to say to us today in these times of the so-called living wage and the slavery of ‘work fare’ but what I come away from it with is an admiration for the ensemble and a rekindled appreciation of the songs of the day.

diana

Rosie Abraham (left) and Mariam Haque (centre)