CFT: Prologue Blog

Editorial Content Ambassador Bethan Whitear looks at the depiction of women in war in theatre and draws parallels between some of the iconic roles for women this season.

So far in the 2019 Festival Season, we’ve been given two plays set against a war or post-war backdrop: Plenty and The Deep Blue Sea. Both feature an ill-fated romance and a woman’s struggle with mental health and isolation. What draws them together most though are that they are both female lead. Let’s take a quick look at strong female leads in plays involving war.

Prior to the first act of the Greek play Antigone, a battle has taken place which has led to the deaths of Antigone’s brother princes. One is allowed a burial by King Creon, whilst the other is not. This civil war is a result of family conflict, which becomes develops into an intellectual war between Antigone and her uncle Creon through the play. We see the effects of war on her and on her family. Ultimately, her defiance and demise leads to Creon’s realisation of his own mistakes, when his son, Antigone’s fiancé, ends his own life out of heartbreak.

Women in Shakespeare’s war plays are often outnumbered by the male characters. Yet, in Coriolanus’ Volumnia and Lady Macbeth, we see women who have a strong influence on the men. Lady Macbeth’s quest for power plays a particularly powerful role in the play. Like Antigone, she is strong willed. Yet, her goals are impure and she encourages violence in her own home. Whilst the male characters choose war for glory, Lady Macbeth uses her domestic environment to achieve her goals.

In the more contemporary Plenty and The Deep Blue Sea, we see two women who are constrained and isolated after the Second World War. The end of the Second World War leaves Plenty’s Susan in crisis. Women may have gained the vote in part due to the roles of women in the First World War, yet the second leaves Susan unfulfilled. In these plays, we see the disorder war can have on humanity.

Focusing on the role of women in a time of war seems to allow playwrights to showcase women in a particular way. Often, they are defying something, whether it be defying society’s assumptions of a woman’s role or the law. Even if they are going beyond the war, these female characters are dynamic and have lived on for a reason.

Get £5 tickets for The Deep Blue Sea. Look out for Hedda Tesman and Macbeth later this season, two more stories with powerful female roles.

When it comes to opening scenes, there can be few plays which move and stick with you more than that of The Deep Blue Sea. In a London apartment, Hester Collyer’s neighbours burst onto the stage and are met with her unconscious state. What follows are a set of discoveries and an examination of toxic relationships in this moving production of Terence Rattigan’s play.

Paul Foster has staged an intimate production which highlights the isolation of the characters. This is well supported by the design, with cars rolling quietly away in George Dennis’ subtle sound design. The crumbling edges of Peter McKintosh’s apartment set creates the sense of the apartment as a secluded island whilst being suggestive of the post-war setting. Above, the overlooking windows are a constant reminder to the audience that Hester is not alone, despite her feeling of isolation, providing some comfort for her future.

As Hester, Nancy Carroll delivers a nuanced, layered performance of a woman who struggles to connect. Her stunning range is on full display, finding moments of levity which only enhance the tragedy and a self-destructive nature which prevents her from accepting the love of those around her. The anticipation of the much discussed Freddie Page does not disappoint in Hadley Fraser’s electric, charismatic performance. From an underlying dissatisfaction, to the hidden guilt which culminates in his alcohol-induced breakdown, Fraser brings Freddie’s insecurities to the surface. Gerald Kyd is touching as Hester’s ex-husband Sir William Collyer, whose dedication to his ex-wife is endearing. Denise Black is also a standout as Mrs. Elton, tackling humour and drama with skill. This is a stellar cast.

This is a harrowing, fast-paced production which brings to light the idea of performance to cover pain. Hester downplays her feelings, whilst Freddie masks his with alcohol. Nothing is as it seems, and frequently assumptions are questioned throughout the play. Hester’s assumed husband is the man she left her husband for. The seemingly idealistic young couple show cracks of distrust. Sir William’s presumptions about the doctor are proven false. Ultimately, we are left with a new understanding of these characters and reminded to look beyond the surface.

The Deep Blue Sea runs until 27^th July. Book your £5 Prologue tickets here.

Bethan Whitear, Editorial Content Ambassador

War stories are so often particular to male experiences. These are important stories to tell, yet the lives of women are so often sidelined. David Hare’s Plenty examines an experience of a woman in war-torn and post-war Britain.

The transitions in this production are brilliantly conceived by Kate Hewitt and her design team. We are drawn into Susan Trahearne’s (Rachael Stirling) eyes through Nina Dunn’s atmospheric projections. Whilst the glass floor creates reflections and a sense of fragmentation. The fringe at the back of the stage also allows for a unique depth to the space, revealing the backstage area. Yet, the moment that makes the greatest impression visually is the final scene. Vibrant yellow flowers cascade from the room and settle on the glass. This is a stark contrast to the opening visual of stacked cardboard boxes, asserting how Susan has been shaped by her experiences.

Rachael Stirling gives a raw performance as Susan. As her roommate Alice Park, Yolanda Kettle brings an energy to the pace, which drags at points. Rory Keenan also shines as Rachael’s husband, Raymond Brock. This is a strong cast, with everyone given a moment to shine.

This is a well directed production of a play which I failed to connect to fully. However, there are certainly aspects to be celebrated. The complex female role and discussions of trauma are important to see on the stage and seem timely. The design is stellar, with a finale that is breathtaking.

Bethan Whitear, Editorial Content Ambassador

Our next production in the intimate Minerva Theatre is Nicholas Wright’s 8 Hotels. This new play is based on true events involving a love triangle between actor and activist Paul Robeson, the young actress Uta Hagen and her husband, Broadway star José Ferrer, when the three were touring America in Othello in the 1940s.

Paul Robeson was a household name in his time, so we thought we’d find out more about the international star.

Paul Leroy Robeson was a celebrated singer, actor and campaigner. With his deep baritone voice, he captured the hearts of many singing ‘Ol’ Man River’ in Show Boat in the London premiere production in 1928 and the subsequent film version. His performance in Othello still holds the record as the longest running Shakespeare production on Broadway.

Robeson was born in New Jersey in 1889. His father was born into slavery but escaped and went on to become a pastor. In 1915, he won an academic scholarship to Rutgers College and became the third African-American student ever to enrol there, and the only one at the time. An outstanding athlete, he joined the football and debating teams, sang off-campus for extra money and joined the Glee Club informally, as membership was for white students only.  

After graduating, he went to Columbia Law School where he met his future wife Eslanda Goode. During university he continued to play American football and perform.

After gaining his degree, he took a job with a law firm but left when a white secretary refused to take dictation from him. He decided to try a career in theatre and landed the lead role of Jim in Eugene O’Neill’s All God’s Chillun Got Wings in 1924. His subsequent appearance in the title role of O’Neill’s The Emperor Jones caused a sensation in New York and London and he went on to star in the film version. His performance as Joe in the film Show Boat made him world famous and his role in Othello won high praise, though he continued to face widespread racism.

Robeson was a prominent political and civil rights campaigner. He spoke at strike rallies, conferences and labour festivals worldwide. After visiting the Soviet Union, he was increasingly identified with left-wing activism, leading to accusations of being a communist; in 1950 his passport was revoked, resulting in an eight-year battle to reclaim it. He died in 1976.

US actor Tory Kittles (Colony, True Detective) makes his Chichester debut as Paul Robeson. He is joined in the cast by Pandora Colin (The Lady in the Van, Delicious), Ben Cura (The Royals, Marcella) and Emma Paetz (Gentleman Jack, Press).    

8 Hotels runs in the Minerva Theatre from 1 – 24 August. Get your £5 Prologue tickets here.

Hadley Fraser plays Freddie Page in our upcoming production of The Deep Blue Sea. We asked him a few questions about the show and what to expect! 

How did you come to be involved in this production and what was it that attracted you to the piece?

Director Paul Foster and I worked together briefly last year and I enjoyed that very much, so I was keen to work with him on something more substantial. He kindly sent a message asking if I’d be up for the idea of The Deep Blue Sea and I bit his hand off.

Over and above the widely-acknowledged brilliance of the play, it felt like fate when reading the dedication page of the script I discovered that Rattigan had written the play in the pub where I spent a great deal of my adolescence. I’m not sure he ever ended up tied to a tree outside said pub on his eighteenth birthday but I suppose his reasons for being there lay elsewhere!

You’re equally known for your musical roles; as an actor what is it you’re looking for in your next role?

I find myself looking for the exact opposite of the thing I’ve just done. Doesn’t always work out, isn’t always the best idea and we’re not always blessed with the luxury of choice but I suppose variety is something I value very highly - it can stop you getting lazy.

What is your favourite moment or line in the play?

I like very much the scene between Hester and Miller towards the end of the play, and especially Miller’s line “But the world is a dark enough place for even a little flicker to be welcome.“

Why should audiences come and see this production?

For Nancy Carroll’s Hester, you just know she’s going to be transfixing.

If you had to sum up the piece in a sentence/three words?

I’ll borrow from Robert Frost - "in three words I can sum up everything I’ve learned about life: it goes on.”

The Deep Blue Sea is on in the Minerva Theatre 21 June - 27 July. £5 Prologue tickets are available here.

This is My Family is a comedy musical centred around a crumbling family unit. Integral to the storytelling are the generational differences on display. The alienated teenager, the disputing parents and the faltering grandmother are all represented in the show and recognisable in our everyday lives. If theatre is about reflecting our world on the stage, then representation of generations is essential.

Viewing the world through the eyes of a younger generation allows us to see in the world in a new light. Their successes suggest a bright future. Shows like Billy Elliot and Matilda include younger characters who drive the plot and push the boundaries of their societies. Presenting these stories now is particularly effective, given the rise of young protestors. In a time when teenagers are rallying against climate change, the disruptive, rebellious young characters on stage remind us of the change they can make in shifting society for the better.

Yet, who is Billy without his Grandma? Giving the older generation a voice on stage is just as important, otherwise we miss the voices of those who have laid out the path for us. In This is My Family, both Matt and May suffer from isolation. One, physically, the other, mentally. May’s struggle with the early stages of dementia signifies that age can bring a new set of problems for us to face. CFT’s recent production of King Lear also highlighted the declining health of the older protagonist. Shining a light on these stories helps us empathise with those effected in the world.

Ultimately, highlighting generational experiences on stage is about more than helping us see ourselves represented. We also become witnesses to other issues and ways of thinking.  Life is messy, yet seeing the solidarity between the family members on stage is a reminder that our lives are strengthened by these relationships.

As a scheme for 16-25 year olds, Prologue is perfectly matched with the themes of age and generations in This is My Family. Get your tickets here.

It may be expected that a play about C.S. Lewis (Hugh Bonneville) would discuss the writer’s relationship with religion. That this relationship would come under pressure, however, is less expected and less known. In Shadowlands, William Nicholson explores the events around the arrival of the writer who would become Lewis’s wife. Hilarious, heart-warming and moving, Shadowlands discusses the evolving truths of love and grief.

Rachel Kavanaugh returns to CFT after helming acclaimed productions including Half a Sixpence and The Music Man. With Shadowlands, Kavanaugh directs a gripping production, casting the audience as Lewis’s students. Scenes move seamlessly across years and locations, ensuring that the play never drags. Kavanaugh’s work with the designers and cast is impressive. Peter McKintosh’s design is deceptively simple. Lewis’s bookcase is initially filled with a collection of thick, brown volumes which blend into each other. When Joy Gresham (Liz White) sweeps into his life, mismatched, colourful novels are added, suggesting her effect. There is also a nod to Narnia in the single lamppost, which Howard Harrison creates a stunning light affect around. The revealing of Narnia is a highlight of the production. The land which Lewis created provides not only an escape for the young Douglas Gresham (Eddie Martin/Ruari Finnegan), but also creates theatre magic for the audience.

The cast play moments of levity and grief equally well. Hugh Bonneville just is C.S. Lewis. He is funny, commanding, heartbreaking and incredibly well suited to the role. Liz White also gives a stunning portrayal of Gresham. Her scene with the professors is a standout, with Timothy Watson’s misogynistic Prof. Riley being bested by her feminist wit. Andrew Havill is also touching as Lewis’s brother, Major Lewis.

Ultimately, this is a stunning production of an intensely moving piece about a man’s relationship with religion and grief. Yet, no response to grief is condemned. Lewis and Douglas’s responses are both given equal respect. Nicholson’s play suggests that love and loss connects us. Indeed, Lewis and Gresham change each other, suggesting that our lives are never set in stone.

Bethan Whitear, Editorial Content Ambassador

This Is My Family is a heart-warming insight into the mayhem that is family life. This comical musical, written by Tim Firth and directed by Daniel Evans, follows 13-year-old Nicky and her family as she wins a holiday of her choosing after entering a competition describing her (not so) perfect family. However, as the play unfolds, we learn the truth about Nicky’s family. From humorous squabbles to ­troubling plights, there is much, much more to this family. 

From the outset, the wonderfully distinctive characters reveal themselves, such as Matt, the grumpy, gothic teenage son, and Steve, the young-at-heart (and reluctantly over middle-aged) father. Not to mention Sian, the expressive, wildly fun-loving, motor-bike riding Aunt played by Rachel Lumberg, who is a treat to watch. We also see the strained relationships between characters, such as Yvonne, the hard-working mother, and May, the strong-willed grandmother. All this together creates an interesting family dynamic, one we are eager to watch like flies on the living room wall. 

Not only is the action entertaining, but the set, lighting and design work seamlessly together. From the moment you walk through the Minerva doors you are welcomed by a large, intricate household set. Elegant touches, such as the organised mess of 100’s of knick-knacks, to the different coloured sections signifying different rooms, bring their world to life. This is not a house but a home, a home that is as comforting and chaotic as the family that lives in it. 

The familial quarrels and hilarious songs are what make This Is My Family an excellent choice for a pleasurable time, but there are deeper and darker details within the play. Moments such as May’s deteriorating health and the stresses within Yvonne and Steve’s marriage are tense and touching. However, this is what we connect over the most. Through all its funny and playful songs and speech, its reflective and relatable nature is what brings us closer to it. We come away thinking ‘that is also my family’.

Lastly, if there can only be one undeniable element, it must be the utterly excellent cast. Collectively, the cast convinces us that they are a real family. That even when the curtains close, they will be returning home together. Specifically, special recognition goes to Kirsty MacLaren, whose voice truly shone in her role as energetic teen Nicky. The production is a real representation that there is no such thing as a perfect family, just one that is filled with affection and effort. If only hugging your teenage sibling in private, or sharing your bedroom with your grandparent, or building a bath tub in to a (cold) hot tub for your wife, doesn’t show true familial love, I’m not sure what does.  

Prologue tickets for This Is My Family from now until the Saturday 15^th June are still available! 

To get your tickets go to cft.org.uk and login to your Prologue account. 

To sign up to Prologue go to cft.org.uk/prologue-sign-up for those aged 16-25 to get £5 tickets.

Hannah Millard, Winter Season and West End Ambassador

Events Ambassador Elspeth Goodman has picked 8 Hotels, another world premiere by Nicholas Wright, directed by Richard Eyre.

“This is my choice because I think that it has a fascinating concept and that it is very interesting because it is a true story. I also have an interest in the social dynamics of race, especially in america. I also found the synopsis intriguing and the way that the story parallels Othello, the show that the characters are touring.” 

Book your £5 Prologue tickets here.

Winter Season and West End End Ambassador Hannah Millard won’t be disappearing for the Festival season. She’s got a whole bunch of favourites, inlcuding one of our world premieres, Hedda Tesman by Cordelia Lynn.

“Hedda Tesman is one of the performances I’m really looking forward to as it will be a modernised take on Hedda Gabler. It will be interesting to see the exploration of Hedda’s marriage & family life now it’s 2019. I am also really excited to see how Hedda is portrayed – especially her bitter and destructive nature – and what occurs because of this. I love seeing female characters who don’t have to be nice all the time!”

Book your £5 Prologue tickets here.

Hannah Lipton, our Social Media Ambassador, can’t wait for our sunny summer musical Oklahoma! which will ride into town on 15 July - 7 September. Catch up with other Prologue members and the cast at our Meet and Greet on 30 July

“My Prologue Pick is Oklahoma! because it is a fun and uplifting show with great music. I am also very excited for The Spiegletent and the fun events, like Cabarets, that will take place there!”

Book your £5 Prologue tickets here.

Editorial Content Ambassador Bethan Whitear can’t wait for The Deep Blue Sea, in the Minerva from 21 June - 27 July.

“Having seen The Winslow Boy last year, I’m intrigued to see another of Terrence Rattigan’s works. The Deep Blue Sea looks to be an emotional ride, and sounds intriguing and heartbreaking. Plus it’s a female lead show with an amazing cast.”

Book your £5 Prologue tickets here.

We asked our team of ambassadors what they were most looking forward to from the Festival 2019 season. Video Content Ambassador Sammy Lacey chose This Is My Family, a musical by Tim Firth that opens the season.

“My Prologue Pick is This is My Family as it’s a nice family musical and I feel it’s relatable to lots of people being on a family holiday. Also because it’s in the Minerva and it will be interesting how they make it fit the smaller theatre.”

Book £5 Prologue tickets here.