A charming stripped back, playful metadrama recalling a time when Lesbians were “not yet invented”, and women could only possibly be friends. Using multimedia to deliver a stimulating sensory narrative structure which serves its juxtaposition between modern day storytelling in its depiction of an early 20th century queer love story.
Written and directed by Clodagh Chapman the performance is centred on a rumoured, historical love affair between political activist and co-founder of the Women’s Social and Political Union, Christabel Pankhurst, portrayed by Ellie Mejia and fellow Suffragette Annie Kenney, played by Lucy Mackay. The Victorian era saw developments in modern language around the understanding of sexual behaviour and identity which has become rooted within our societal constructs. Based on patriarchal expectations of an assumed binary gender system, women at the time were expected to get married and have children. Unmarried women, sometimes living together, were referred to as ‘spinsters’, as it couldn’t possibly be anything sexual, when as presumed, supposedly by Queen Victoria, that sex between two women was a physical impossibility. In comparison to ‘male homosexuality’, nothing in British law prevented two women from having sex, resulting in a scarcity of historical documentation surrounding lesbian relationships.
Ladyfriends sets out to change this with its own documentation of an alleged lesbian love affair between these two trailblazers via an onstage camera, smoothly operated by Christina Holmbek. Short, snappy scenes take place along a traverse stage, moving the narrative along nicely. Mejia and Mackay’s natural chemistry absorbs the audience in the tender, loving moments, meeting the demands of this intimate portrayal. Holmbek’s frames provide the audience with different perspectives of the action, zooming in on facial expressions and discreet touches between the two, perhaps adding a touch of modern-day voyeurism onto a historical depiction of hidden, unforbidden love.
The rules around the women’s right to vote in 1918 didn’t come without its caveats. The theme of class is lightly touched upon in Chapman’s writing, with Pankhurst, raised within a middle-class background, coaching a working-class Kenney in public speaking, encouraging her to join the suffragette movement as a ‘free human being with independent will’, whilst later reminding her, “I gave you your life”. These nuances are fleeting and subtle, but enough to show the layers of complexities within the relationship. There are some humorous moments such as the reference to Mary Blathwayt, who kept note of how Kenney likes to share her bed whilst staying in Eagle House otherwise known as ‘Suffragette’s rest’. Chapman shows trust in the audience in the fact that the Suffragette history is important to the story, but there isn’t a requirement to tell it. The simple story of love will keep the audience engaged regardless of their knowledge of feminist history.
Lack of confidence came not with the play itself but with the director’s foreword. Chapman explained it was to be treated as a relaxed performance, yet it was not billed as such. When I experience theatre, I would like to dwell in all its unexpected delights. Knowing that there was going to be a confetti cannon spoilt that moment for me somewhat as I anticipated it. Confidence should lie within the audience to expect lighting and sound within a show. This did not need to be explained unless it is billed as a relaxed performance. Another minor issue was with the transitions. They felt static and a bit of an afterthought with the same song playing whilst the actors walked into their next scene. Some movement to keep with the beautiful fluidity of the great performers wouldn’t have gone amiss along with music variation. Some minor technological syncing and sound issues also disrupted the flow of the performance too.
The historical concepts of gender expression and sexuality Chapman explores will most likely prompt some further reading into this interesting period in time. Overall, this was an enjoyable, engaging production.
Reviewer: Gill Lewis
Reviewed: 23rd March 2023
North West End UK Rating: ★★★★