Nottingham Playhouse
25th February
2017, matinee
Recently, I read Rodney Ackland’s Absolute Hell, rewritten and retitled in 1988 after its flop
production in 1951 and rediscovered as a masterpiece, one which invites
comparisons to Rattigan, Chekhov and O’Casey – it’s a stunning play. Set in a
West End drinking club in the summer of 1945, the play was originally blasted
as libellous on the British people, claiming to show the dregs of war as drunks
and failures. But really, the play shows an un-airbrushed and kaleidoscopic
portrayal of people scared of war and of loneliness. Stephen Lowe, in Touched, puts women’s struggles and
experiences of WWII centre stage, daring to hope in the face of Britain’s
uncertain future.
This is the 40th anniversary production of Lowe’s Touched and I have to admit I’m not sure
if I’d heard of the play before this production was announced. One of the many
new commissions that Richard Eyre programmed as Artistic Director of the
Playhouse, this is apparently the first professional production to have
authentic Nottingham voices at its core. This is mainly due to the casting of
Nottingham’s Vicky McClure, Aisling Loftus and Chloe Harris as the three
sisters at the heart of the play, set in the 100 days between VE day and VJ day
at the end of World War II.
The start of the play sees Sandra (McClure), Joan (Loftus)
and Betty (Harris) celebrating the end of the war in Europe and the beginning
signs of summer whilst they are taking in the washing. But domestic duties
aside, their war has been dominated by an intensified increase in working in
factories to help with the war effort. We later see them working on an unsafe
production line where Joan warns the foreman that “you should listen to us as
once the election is over, we’ll have more power”. It’s one of many lines that
are loaded with naïve optimism that equal pay rights are improving and that the
suffering and sacrifice of the war will soon be over. Interestingly, the first
scene is filled with references to nursery rhymes, Listen with Mother, and Bible stories. When Jimmy asks about how a
story ends, Sandra replies ‘And they lived happily ever after, like all good
stories should’. It’s a reminder that, in these 100 uncertain days of phoney
peace, no one can guarantee the outcome of post-war Britain.
Lowe perfectly captures the so-called ‘still point of the
turning world’ by evoking a sense of inertia from which the characters want to
break free. They talk about the airless heat of the summer and wanting to open
the windows, they talk of street parties but we don’t see any and food is still
sparse. But above all, women are presented as grafters, both at home and work
and a just as important part of the war effort as what was happening overseas. Although
the play may focus on the marginalised stories and voices of WWII, there is also
a pulsing sense of relevancy in Sandra’s anxiety over not taking the peace for
granted. She reminds her mother that you don’t destroy things (in the war) to
then forget about them. And in relaying the story of Noah’s Ark to her niece to
explain that rainbows are signs that God won’t flood the earth again, Sandra is
fixated with the idea that the sun may dry up the earth and all those on it.
Lowe’s writing, although rooted in Nottingham colloquialisms and
vernacular, is poetic and still feels contemporary. McClure excels in the complex
role of Sandra. Sat in a boiling hot bath getting drunk – having been persuaded
by Joan to sit in a hot bath and be sick in order to lose the baby she got from
a one night stand with an Italian Prisoner of War – we see how she is still in
pain from losing her first child and that she feels anxious that the war has
made her lose out from becoming a mother. In another poetic and visceral monologue,
we hear how Sandra craved the touch of the POW, the ruffle of his clothes, the
softness of his skin and thus the urge for something more.
Aisling Loftus perfectly conveys Joan’s ballsy and brash sense
of defiance and a wanton to look ahead to the country’s future. Marching around
the stage singing ‘Hitler’s only got one ball’ and telling Betty to move on
from losing her partner overseas. It’s a brashness that has perhaps come out of
necessity because of the hardship of war but we also see her caring side behind
closed doors.
In the last scene, Jamie Vartan’s impressive period design takes
us from the cramped confines of terrace housing to an expansive, airy hill
where characters’ spirits are lifted. In a Beckettian last coup, bomb-like
explosions befall the stage, the sky is drained of its bright warmth and the
tree is stripped of its blossom whilst the family are still enjoying their
breakfast picnic. It’s a striking last image which reminds us that whilst the
dawn of a new world can be jubilant and offer a glimmer of hope, it also brings
the worries of an unknown future.
Touched plays at the Nottingham Playhouse
until 4th March, 2017.
Photo credit: Robert Day. |
Vicky McClure as Sandra, Aisling Loftus as Joan, Sarah Beck Mather as Bridie
and George Boden as Johnny.
and George Boden as Johnny.
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