The Thrill of Love
The Nonentities
The Rose Theatre, Kidderminster
*****
In this modern competitive world, those
who come last are seldom remembered. In the case of Ruth Ellis, being
last gave her a most unwelcome notoriety at the end of her troubled
life.
Ellis was a London hostess and nightclub manager
and, in 1955, was the last woman to be hanged in Britain after the
brutal murder of her lover David Blakely.
At a time when the country was still recovering
from a world war, there was little concern or help for those with mental
illness and domestic violence and sexual exploitation seemed to be a way
of life. The world that Ruth inhabited was occupied by the elite, the
wealthy and criminals alike and was fused with sex and alcohol.
Amanda Whittington’s play, The Thrill of Love,
seems like an ill-fitting title considering the tragic life of the Ruth
Ellis she chooses to portray. It’s a desperate view devoid of any joy or
romance and one where Whittington ponders how Ellis came to be in
possession of a cleaned and loaded gun.
Throughout she suggests that the murder was more
out of a secret obligation that fuelled this crime of passion.
It’s an argument that still persists today as to
the true motives and guilt in the light of Ellis’s diminished
responsibilities. Presented in the intimacy of the studio theatre, The
Nonentities Company delivered a first class performance in balancing the
emotional state of Ruth and her close friends against the official facts
of the case.
The play was presented in the round and the
performance did have a few viewing issues due to that. This minor
frustration is heightened by the fact that all of the cast are so good
that you somehow feel a little cheated.
Directed by Louise Fulwell and with a set design
and art installations by Keith Rowland, Andrew Davie and Anna Murphy,
the setting is both stylish and intriguing when you first enter the
theatre space.
The second atmospheric addition throughout the
play is the clever sound work by Joe Harper and the haunting music of
Billie Holiday. It’s all a fitting sleazy, jazz backdrop to Ruth Ellis’s
tragic story and an effective staging for some excellent performances.
Amy Cooper as Ruth Ellis
Firstly Amy Cooper plays Ruth Ellis and manages
to capture Ruth’s well documented, almost self-destructive personality.
Even after the very public murder of Blakely on a London Street, Ellis
was said to be calm and resolute in her actions and quite accepting of
her guilt. Miss Cooper managed to deliver a real sense of someone who
had accepted their fate.
Next is Sue Downing as Sylvia Shaw, the wily Club
Hostess, hardened to the seedy world of night clubs and prostitution.
Focussed on controlling her girls and chasing the profits, Sylvia rarely
shows her emotions, but as Ruth faces her inevitable end in prison,
Sylvia becomes emotionally broken and Sue Downing conjured real tears
for us to see on the night.
Vicky Martin was Ruth Ellis’s close friend and
Bethany Grainger excelled in the part. Vicky died in a car accident in
the same year as the murder, a sad fact that must have added to Ellis’s
mental state. Bethany’s performance was very focussed, highlighting the
corruptable ambition of young girls attracted to the fame and lights of
London in the 50s.
Then there’s Jack Gale played by Stefan Austin,
the investigating police officer whose military service and street savvy
in post-war London gives him the ability to question everything. Gale
desperately tries to find some other reason for Ruth’s actions in order
to save her from execution. Stefan was sharp and to the point in his
performance and definitely looked the part.
All of the performances were outstanding but one
of the best for me was Hannah Tolley who plays Doris Judd. Doris was the
charlady and cleaner for Sylvia Shaw. It’s hard to know if the writers
take on her is a true portrayal of Doris but Hannah played her as a kind
and genuinely concerned woman. Her compassion for Ruth was evident and
in the proximity of the studio theatre, Hannah’s performance was
perfectly awkward and yet very emotional.
It seems that the entire cast realised that this
is a very adult and feminine piece of work. Being based on the life of
real person and the complexity of the subject matter called for respect
and the best work that they could conjure and they certainly did that.
As mentioned placing the performances in the
round does have some issues but those are down to the fact that you want
to catch every nuance of this cast’s performances and at times you are
unable to. Having said that, it’s a testament to the continuing quality
of The Nonentities abilities to stage highly professional performances,
within an amateur dramatic setting. To 10-11-18
Jeff Grant
06-11-18
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