17 – 25 February
In the same vein as Lin Manuel Miranda’s Hamilton as well as Toby Marlow and Lucy Moss’s Six, this Bristol Old Vic Theatre School production of Emilia transports us back in time to view a historical icon through a contemporary lens.
Sally Cookson, of A Monster Calls fame among other productions, would seem the ideal director to take the role of visiting professional with a further bunch of promising students.
There is much to admire in this production, not least the bold decision to put on Morgan Lloyd Malcom’s triple Olivier award winning comedy with an all female, non-binary cast and creative team. There is much merit in this use of an intersectional company, although there are inherent limitations on some of the portrayals of male characters when the action is not simply played for laughs.
Emilia Bassano was the first woman to have her poetry published in England in 1611, but until now she has been overlooked in favour of her male counterparts. As Emilia forcefully declaims in Act One “We are only as powerful as the stories we tell. We have not always been able to tell them. Time to listen!”
Three performers portray Emilia during the different stages of her life. Rumoured to be Jewish, a further twist is made by casting black performers in the title role. Sumah Ebele acts as the elder and constant narrator with a calm maturity throughout, building to a climactic and forceful call to action in a powerful finale. Gaia Ashwood excels as the younger Emilia, conveying a deep conviction in knowing who they are, always ready to challenge and keen to find an alternative way in life from that which is expected.
Thought to be the inspiration for Shakespeare’s ‘Dark Lady’, Emilia’s collection of poetry is regarded as one of the earliest feminist publications, with each entry receiving a dedication to a woman whom Bassano was inspired by. This production is often at its best with the ensemble sections and the theme of women supporting women is marvellously conveyed when Emilia teaches among her less educated sisters, ready to challenge the subservient role thrust upon them by the patriarchy.
Occasionally, the lack of age appropriate cast members causes a stutter in conviction and a few of the performances suffer due to that. However, there is much potential in the cast, not least shown by Holly Hawgood who not only perfectly captures the magnetic power of Lord Henry Carew, but is also touchingly realistic as Emilia’s protégé, Eve.
At times a boisterous (or should that be girl-sterous) romp, the designing duo Rhiannon Binnington (costume) and Alice Sales (set) seek to further embellish the senses by creating a fabulous canvas, with use of chunky boots, coloured fishnet tights and glittery codpieces aplenty.
There are many lovely moments and we are left with a sense of injustice, passion and a feeling that the times are changing and the silenced will at last have a voice.
★★★☆☆ Bryan J Mason, 17th February, 2023
Photo credit: Craig Fuller
