LITTLE WARS (Union Theatre)****

 

By Tommy

Link: https://www.ticketsource.co.uk/theatre4all-online £12

Available until: Access is for 24 hours, beginning at 10am on the day of the ‘performance’. It will be available every day until 3^rd December 2020.

Trigger warnings: Violence, rape, anti-Semitism, abortion

Little Wars is the fascinating story of seven women and the ways in which their lives change as a result of one single evening spent at the house of two of the women, Gertrude Stein and Alice B. Toklas. If you are fortunate enough to be considerably more well-read than I am, you might find those names familiar – and if not, you are almost certain to recognise the name of at least one of the other guests. The two writers, involved in a romantic relationship for many years, are joined by three other members of their profession: Dorothy Parker, Lillian Hellman and Agatha Christie. Also among them are psychiatrist Mary, who has arrived on the wrong day, and servant Bernadette.

One would be forgiven for assuming it was a writers’ retreat – all but Mary and Bernadette are writers – and at first, it isn’t entirely clear why these women have gathered together. It is not as though any of them (other than the touchingly devoted Gertrude and Alice) have any particular fondness for one another’s company. In the early part of the play, sharp words are exchanged; barbs find their target - the many insults amusing at times but also rather uncomfortable. Psychiatrist Mary watches them all with interest, her presence amongst them a particular mystery, as Bernadette simply does her job, her eyes haunted.

It could be a comedy and yet it does not quite seem that way. Even for those who are unaware of the history of these women, there is a certain menace lurking under the surface of Steven Carl McCasland’s script; a hint of something which seems rather more important than which of the women can deliver the largest number of insults in the shortest amount of time.

The truth is eventually revealed: starkly and movingly, with the remarkable cast each taking their turn at delivering a powerful performance. There might be little to admire in these characters in the early part of the play, but there is strength and purpose in all of them, and my feelings as the play ended were significantly different from my feelings at the start.

The play has been filmed on Zoom, which some viewers have found restrictive, but I felt their closeness onscreen gave the scene an added feeling of claustrophobia, which was echoed by the characters’ clear discomfort in one another’s company – and there is arguably also a certain added discomfort for the viewer, in being merely a couple of feet away from the actors’ faces. Also, with such a fine cast of actors, emotions are so potently expressed, there is no need for them to stand up and pace a stage (which, if one thinks about it, is probably far less realistic than merely sitting and speaking to the other guests). For the most part, all actors present onstage are visible, but director Hannah Chissick allows her characters an occasional short close-up at key moments. This is always perfectly-judged, never seeming either redundant or overused as a dramatic device.

Linda Bassett gives an intelligent performance as Gertrude Stein. Although she is quick to anger, particularly when in the presence of Lillian Hellman, there is a warmth in her performance which rouses one’s interest in the character, despite any reservations one might have about her behaviour. If Catherine Russell makes less impression as her partner Alice, I do feel, having read something about these women whose names were hitherto unknown to me, that this could be deliberate. The real Alice B. Toklas is described as being somewhat in the background: a calm and steadying influence, but a very quiet one.

There is also an excellent and finely-nuanced performance by Juliet Stevenson as Lillian Hellman. Lillian is not a character who feels afraid to give her true opinions and say exactly what is in her mind and she is rather inclined to say things which might be considered not particularly kind. However, Ms Stevenson’s sense of comedy is faultless and she also imbues Lillian with a rather delightful energy that, whilst one certainly has some feeling of dread about what she might say next, one also rather longs to hear it.

It is possible that the script is a little unforgiving in its representation of Agatha Christie, whom I would never have expected to be so impolite, but Sophie Thompson does well to find humour in the script and her physical appearance and mannerisms are absolutely wonderful, like a young Miss Marple. Debbie Chazen seems initially rather brassy and brittle as Dorothy Parker, but with intriguing hints of vulnerability which are explored later in the play.

The role of Mary is taken by Sarah Solemani, and the Zoom format allows her to give a very subtle performance, showing Mary’s kindness and empathy without drawing overmuch attention to herself, but we soon come to know more about the character, who is even more passionate about helping others than her job title would suggest.

Yet it is Natasha Karp as Bernadette who shines particularly, a striking presence even when she appears only briefly to serve drinks, a fascinating and fragile young lady with her own story to tell.