‘The Watsons’ review
A ‘resplendent regency romp’.
Castle Theatre Company’s Production of ‘The Watsons’ by Laura Wade is an adaptation of an unfinished Jane Austen novel, imbued with a thought-provoking meta-theatrical narrative.
The audience is first welcomed into a conventional regency-style parlour, where the critical circumstances of Austenian heroine Emma Watson (no connection to the Harry Potter actress) are made apparent through successfully incorporated exposition; she has been brought up in the lap of luxury by a wealthy aunt, and, having lost this position due to this aunt’s marriage, has been forced to return to the less prosperous family homestead, where it is expected she will find a husband to reignite the happiness she has lost.
The style and dialogue initially remain faithful to this expected form of drawing-room drama, as the audience expects to watch Emma decide which of three potential suitors to marry. However, Wade, in an unexpected twist, throws a wrench into the works in the form of the introduction of Laura, a writer who informs all of the characters that they are, in fact, not real, but she is in the process of writing their story. I won’t spoil the ending, because I believe the element of surprise is half of the fun of this show, but I shall reveal that chaos ensues as a result of this revelation!
Director Archie Elliot, alongside Assistant Director Olivia Higgins-Darby, does a stellar job of portraying this dramatic, though at points convoluted, narrative in a loving and lively manner, creating brilliant memorable moments, such as a large number of cast members all appearing from underneath a bed. I questioned some staging decisions, such as when characters had their backs to the audiences for an extended period of time in quite a deliberate fashion, but believe overall that the ludicrous, intricately choreographed group scenes were a highlight, for which credit must be given to both the directing team and talented Movement Director Jobe Hart, as it cannot have been easy managing a sizeable cast in this manner.
The tech and production team, led by Production Manager Faith Gorton, created a slick spectacle, and I thought both the clever and beautiful usage of lighting and the judicious employment of music did a fantastic job at accentuating both the raw emotive points and comedic elements of the piece (Zac Jackson and Kiera Bourgeois, respectively). Overall, the stage display was utterly charming, added to by the splendid costumes organised by Eleanor Poli and Millie Buckle.
There was not a single weak link in this impressive cast, who worked together like they’d been practicing for months, rather than only a couple of weeks. Isobel Willis, playing Emma, was absolutely show-stopping. Her quick, consistent and loveable portrayal worked particularly well against Nat Pryke’s touching treatment of the author, Laura. Pryke offers fantastic realism and is an effective foil to the traditional literary archetypes embodied by the other characters. Sam Bentley (Lord Osborne), Ed Clark (Mr Howard) and Tristan Betts (Tom Musgrave) are a wonderful trio of suitors, Clark in particular providing a lovely earnestness which endears him to the audience. Bentley is the comedic standout, sending the audience into fits of laughter with his awkward demeanour and impeccable timing. This is evidenced most effectively in his scenes with Betts, as the actors play off each other brilliantly, with Betts displaying ease and confidence in his role.
Bethan Avery commands the audience wonderfully every time she is on stage as a hysterical Mrs Robert. Her chemistry with Ollie Cochran (playing Robert Watson) shines, as the duo work together to convey the snobbery of their characters while remaining incredibly sympathetic. Cochran’s amusing interactions with Laura’s mobile phone are yet another highlight! The performances of Clara Dammann and Poppy Harvey Wood as Elizabeth and Margaret Watson, respectively, display enormous talent, as Dammann’s considered characterisation of a woman stricken by grief contrasted beautifully with Harvey Woods’ sparkling, youthful energy.
Although Mr and Mrs Edwards (Jonas Stringer and Maia Harris-Lindop) do not feature heavily, as they themselves point out to the audience in Act 2, they make the most of every riotous appearance and win the audience’s hearts, with Stringer also depicting Mr Watson in a markedly nuanced manner. Felicity Wood and Estelle Pollard-Cox do a very impressive job of imbuing their performances as Lady Osborne and Nanny with consistent sensitivity and sincerity, as well as humour, as the play develops, and are both uniquely fabulous to watch. Polly Hardwood is a delightful Miss Osborne, and Noah Benson a subtly hilarious Bertie.
Filled with warmth, hilarity, and unexpected tenderness, you don’t want to miss out on watching this resplendent regency romp. I laughed until I cried, and came away with a new appreciation for the joy of endless possibilities.
By Molly Bell.