Playhouse Creatures
Playhouse Creatures, set in the vibrant restoration era, explores the lives of five pioneering actresses after King Charles II’s royal warrant allowed women to perform on stage legally. These early actresses not only grapple with the novelty of their roles but also strive to become shareholders in the theatres they helped to popularise.
Directed by Michael Oakley, the production excels in delivering a rich tapestry of humour and drama. From the outset, the play establishes its comedic tone with exaggerated moments, such as actresses baring their breasts (pin cushions) and enduring toy snakes’ bites, which alludes to the farcical elements of the show.
Anna Chancellor shines as Mrs Betterton, brilliantly portraying a range of emotions and comedic timing, especially during her nonsensical rendition of the clock faces and a poignant portrayal of Lady Macbeth. Zoe Brough’s portrayal of Nell Gwyn captivates with her dynamic presence, keeping the audience engaged with her curious and spirited performance. Meanwhile, Katherine Kingsley’s Mrs Marshall delivers a powerful performance, ranging from comedic outbursts to moments of sincere camaraderie. There is also canned laughter and applause to heighten these moments.
Nicole Sawyerr offers a versatile portrayal of characters transitioning from a timid preacher’s daughter to a commanding Mrs Farley, although some aspects of this transformation remain confusing, blurring the lines between a character playing another character or performer playing another role.
The play also ventures into meta-theatrical territory with plays within a play, marked by the ringing of a bell. However, some scenes, such as a duel between characters dressed as men, feel disjointed and lacks clear purpose, potentially symbolising the constrained freedoms of women during the era.
The second act introduces a jarring shift with a scene involving a hatpin abortion, which contrasts sharply with the light-hearted tone of the first act. This scene, while impactful, seems out of place and leaves unresolved questions, diminishing its effectiveness.
April De Angelis’ script, written in 1993, reflects its time with contemporary dialogue and a small, dynamic cast. The play hints at feminist themes by showcasing the struggles and few triumphs of women forging a path in a male-dominated profession. Notably, Nell Gwyn’s evolution into a self-determined figure who becomes the King’s mistress highlights a complex narrative of empowerment under constrained circumstances.
Despite the absence of the character Mrs Barry, which might explain some narrative gaps, the ensemble’s performances are great, keeping the audience engaged through a series of short and swiftly changing scenes.
Playhouse Creatures offers a spirited look at an intriguing chapter of theatrical history, packed with strong performances and a blend of humour and drama. While some elements might benefit from clearer exposition and integration, the play successfully captures the essence of an era filled with both restriction and rebellion.
This show was reviewed on the 21st March 2025 at the Orange Tree Theatre, London where it runs until the 12th April 2025. Tickets available here: Playhouse Creatures – Orange Tree Theatre
Review written by Valentine Gale-Sides
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Photo credit : Ellie Kurttz
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