Linda Marlowe is a doyenne of solo
shows, and her blend of femaleness (as opposed to mimsy “femininity”)
and indomitability makes her a fine match for a stage version of Carol
Ann Duffy’s 1999 poetry collection which re-evaluates episodes from
history and myth. Some of Duffy’s narrators are principal protagonists
themselves (Delilah, Salome or Myra Hindley in “The Devil’s Wife”, the
group of poems which provide the climax to the 70-minute presentation),
some the imaginary or unregarded wives of principal figures (Mrs Freud
with her catalogue of penile euphemisms, or the deliciously
blasé Mrs Faust), some are gender-bent from the conventional
figures as with Queen Herod or the Kray Sisters.
The production is a model of thoughtful economy. The set consists of a
laundry basket, airer and table, placing Woman stereotypically amid
domestic drudgery until... a snatch of music, a video-projected title,
a garment grabbed from one location or another and Marlowe has
transformed herself into the next figure. (At one point the captions
comment upon the set itself, as the caption for “Mrs Tiresias” shows a
washing line from which two bra-and-panty sets dangle.) An overcoat and
a stoop suffice for Mrs Quasimodo, an amulet and a flower in her hair
for Queen Kong.
Some of the devices in Marlowe’s arsenal are familiar: Delilah speaks
with the voice she has used for many a Steven Berkoff prole.
Occasionally she over-emphasises: when Circe speaks of having swinish
men “under my thumb”, she presses the digit down on the table. But woe
betide anyone who suggests that at almost 70 years of age she might
consider more decorous characterisations than the flying legs and
“presented” rump of Queen Kong. Marlowe’s own personality is an
integral component of the show, even though not a word of its text is
her own. There is wit in the re-sequencing of Duffy’s poems, such as
working up to a peak of Mrs Beast’s dominatrix declarations and the
complexities of Hindley, but also in the deflation of “Queen Kong” by
following it with the single sardonic stanza of “Mrs Darwin”; one can
relish, too, subtle touches such as giving Eurydice an Australian
accent… because Orpheus (nearly) brings her from down under, get it?
The audience at the performance I saw included a number of set-text
students, who clearly appreciated Marlowe’s bringing Duffy’s words to
life.
Written for the Financial
Times.