Extraordinary Women
Sarah Travis & Richard Stirling from novel by Compton Mackenzie
Directed by Paul Foster
Jermyn Street Theatre
Star rating: 2.5
Originally commissioned by Guildford School of Acting and filmed during Covid, this musical take on a rather weary, satirical 1928 novel is good in parts.
We’re on the fictional island of Sirene (a not very well disguised Capri) where the sirens lure women with “sapphic” inclinations to pursue their passions – especially in the case of Rory Freemantle (Caroline Sheen) who owns the property and the elusive, charismatic, disruptive Rosalba (Amy Ellen Richardson). The wailing sirens, clad in what appear to be plastic macs in pastel shades, have a minor key refrain which bears a close resemblance to the fairies in Iolanthe calling their titular sister out of exile. Make up your own mind whether this is homage to Arthur Sullivan or unconscious borrowing.
The story is complex, and not always clear, as six women – each excessive in her own way and said to be based on lesbian or bi-sexual women Mackenzie knew – set up trivial intrigues with each other. Cue for bitchy jealousy and over acted gesturing to ham up the satire. It’s quite amusing but, of course, a modern audience doesn’t recognise the caricatures and attitudes to same sex love have changed completely in the last 97 years.
Nonetheless all the performances are pleasing with especially fine work from Jack Butterworth, the only man in the cast of seven. His multi-roling becomes comedy in its own right as he appears repeatedly in a kilt with a Scottish accent, then as the deliciously wet, camp Daffodil with cut glass vowels and as an Italian police officer – and more. He is evidently having a lot of fun and so are we. Also outstanding is Sophie Louise Dann whose turn as the frumpy Miss Chimbley is very funny, especially as she then morphs into other soppier roles with aplomb.
As for the choreography, well, Joanna Goodwin has done her best within Jermyn Street’s limitations although there is too much arm-writhing, especially from the sirens.
It’s a pleasure to hear good singing in a small space like Jermyn Street because it doesn’t need mics and all, therefore feels acoustically natural which is refreshing. However, the music in this piece is pretty forgettable although well enough accompanied by MD Sam Somerfield (who also did the orchestrations) on piano and James William-Patterson on guitar and double bass.
Photograph by Steve Gregson
