Ellen Terry is perhaps the most celebrated English actor of the 19th century. On
the stage from the age of eight, she was a rebellious young woman, passing through
much emotional turmoil - including a failed marriage to the artist G.F. Watts, and
a longer relationship with the architect Edward Godwin.
As the acting partner of
Henry Irving, Terry achieved her greatest distinction in Shakespearean roles most
notably Portia and Beatrice. Universally admired she achieved one what we now call
'celebrity'.
So here we have a fascinating and remarkable woman and surely a life
deserving a grand operatic scale?
Nevertheless, it is to writer Alison Mead's credit
that she has grasped this magnificence and effectively translated the feeling and
the emotion to the stage with just four actors.
These four, directed by Kirrie Wratten,
handled eleven roles between them with veracity and conviction. Maggie Turner and
Kate Willoughby brought warmth to both the older and the younger Terry. Maurice Byrne's
Irving, that absolute if benevolent dictator, had enough charm to convince that there
may have been more than a professional relationship with Terry. His presence at first
seemed arrogant but changed into something more loving and tender.
I
In addition, J P Turner as George Bernard Shaw, a possible love rival, commanded
the stage through the power of Shaw's writing convincingly and slowly conducting
"a paper courtship...perhaps the pleasantest and most enduring of all courtships".
Furthermore all of this was achieved in the rather confined space of the 'King's
Arms Barn'. Having visited previously, I had my doubts as to its theatrical viability
but credit to the design team and the actors for successfully working the cramped
and intimate space.
Ellen whetted my appetite to know more of Terry's gifted career
and life and definitely deserves a wider audience.
It is educational, well written
and above all enjoyable. A credit to all involved.
5 STAR REVIEW OF “ELLEN”
ON REMOTEGOAT WRITTEN
BY DAVID STOCKTON
HENLEY FRINGE. 2009.
ELL
