I’m delighted to announce that the book Women and Power: The Struggle for Suffrage has been published by the National Trust. It’s available at a National Trust property near you, via The History Press/Amazon, and via the National Trust catalogue.
I co-wrote the book with the brilliant Rachael Lennon. Our foreword was by Laura Bates, founder of the Everyday Sexism project. The book is based on research I did as academic lead on the Trust’s Women and Power project for 2018.
Here’s some blurb:
Celebrating a year of ‘Women & Power’ programmes throughout the Trust, this book explores the roles of National Trust places in the women’s suffrage movement, through the people who lived and worked in them – from the Midlands kitchen-maid turned suffragette arsonist to the aristocratic dynasties split by a daughter’s campaigning. As well as offering a broad history of the Suffrage movement, readers will discover some of the debates heard in the drawing rooms, kitchens and bedrooms of National Trust places as the country fought over whether, and how, a woman might have a voice in public life. We continue to see the footprints of this intensely political argument in the places and collections cared for by the Trust across England, Wales and Northern Ireland.
Working on this book was a joy, and the end result is – thanks to the Trust’s art researchers, and our great editor, Claire Masset – a beautiful thing.
Read the book? Visited a National Trust property alongside it? Thrilled or outraged about the amount of suffrage and feminist history on display? Let me know.
Today, I was back with the cast and crew for Primavera’s production of The Notorious Mrs. Ebbsmith, Arthur Wing Pinero’s 1895 play about the relationship between a radical female demagogue, and the young MP who abandons his wife and career for her. Living as political comrades and lovers in Venice, Agnes Ebbsmith and Lucas Cleeve are visited by his rakehell uncle, the Duke of St Olpherts, who plays the very longest of games in attempting to neutralise Agnes’s influence over her lover, and return Lucas to his wife.
Writing that summary caused me great pain, because re-reading the text and working with the company has reminded me what an ambiguous, complicated and wonderful play it is. It’s also one that I find incredibly sad (which is somewhat unfair, given that I laughed out loud frequently during the run I watched). As well as the standard historical advice bit (pockets! Wedding rings! What is Dr Kirke doing in Venice?), I also gave notes to a cast for the first time in years, which was a daunting but enjoyable– and also one that reminded me how illegible my note-taking is, during a run. I should say that I only gave notes at the behest of Abbey Wright, the marvellous director who has cast the production incredibly cleverly (full disclaimer: she’s an Orielensis and from Warwickshire, although I didn’t know either of these facts when I took the job. Disclaimer son of disclaimer: also just discovered she directed the 2012 run of Bitch Boxer, which I saw in 2013). In particular, her casting resists the temptation (and I think thereby doing a rather better job than Pinero’s original text might have done) to turn the supporting female roles – Gertrude, a young widow from Yorkshire, and Sybil, the MP’s aristocratic wife – into mere foils. Julia Goulding and Sarah Madigan are as strong and arresting as the eponymous lead.
Primavera’s production is the first since 1895, which is remarkable given that The Second Mrs. Tanqueray (his 1893 work, to which this was the career sequel) is done fairly regularly – and that this, in all its ambiguity and obsessive negotiation of gender and class, is actually a great play for today.
The Duke of St Olpherts reminds me of those better known fin-de-siècle flaneurs, Lord Henry Wootton, Lord Darlington and Lord Goring. He’s actually more dangerous and more interesting than all three. Although patently attracted to Agnes (and not pace Gladstone, “in the missionary spirit) and a lifelong rakehell, he doesn’t have an emotional crisis and offer her his hand (Darlington), or preach aesthetic philosophy (Wootton), or offer witty salvation to the hero, as Goring does to Lord Chiltern, Wilde’s version of the compromised “coming man”. Thackeray called Vanity Fair “a novel without a hero” and this is a play without a hero – Lucas Cleeve isn’t Robert Chiltern. But although Olpherts isn’t Wootton, he is Wildean. Responding to Agnes’s frankly splendid account of his outrageous and enterprising past, St Olpherts declares “I detected the tendency of the age”. This reminded me of what Wilde wrote in his prison his prison letter to Lord Alfred Douglas (which, although subsequently titled De Profundis, George Bernard Shaw saw as Wilde in excelsis). Comparing himself to Lord Byron (actually a far better role model for St Olpherts than Wilde), Wilde wrote ‘I was a man who stood in symbolic relation to […] my age”. St Olpherts stands in symbolic relation to Agnes, to Lucas, and to all of monied, dissolute fin-de-siècle society. Agnes calls him a torturer; at times he seems like a natural Pandarus forced into precisely the opposite role. There are also moments when he’s the most shocking character in the play.
He’s also, physically, the sickest person in a play that’s overwhelmingly about sickness – what it means to be healthy, unnatural, or mad. Anyone interested in health, class, or gender should see this play. Between 1898 and 1918, the trades union movements grew especially fast, and the political rhetoric Pinero gives the working-class Agnes anticipates much of the language of the suffrage and socialist movements. But back to sickness. In a tiny cast of characters, there are two doctors, and two nurses: Agnes is professional, and Gertrude has helped with nursing Lucas because of her devotion to her (Amos, it seems, may have made a third nurse). Lucas has been recently violently unwell, although it’s unclear whether his troubles are more mental or physical. Gertrude has terrible bouts of depression and has experienced the deaths of husband, lover, and child. Agnes faints and is attended by Kirke in the course of the play; we subsequently see her with a burned and bandaged hand. “Mad Agnes” also discusses the extent of the misery and privation she’s suffered in the past – until her “bones were through [her] skin”. The original, in fact the only other Mrs Ebbsmith was Mrs Patrick Campbell, who in 1895 was considered horribly thin. Sadly, today her physique is the default and pinnacle for film acting, although theatre remains (mercifully) more diverse. It’s also a play in which characters desperately try to alleviate each other’s suffering, with Amos and Gertrude ultimately presenting spiritual healing as Agnes’s only possibility of an effective “cure”.
I’m so glad I was able to be involved with Primavera, and I can’t wait to see the full show: today’s run was a joy. It was also my first visit to the Jerwood Space, via Jubilee line chaos, an emergency cab dash, and a fascinating chat to the driver about The Knowledge (3 years! full time! 400 routes to memorise). These are rambling notes, but I’m trying to make the blog more active and not let the perfect (eloquent) be the enemy of the good (published).
Finally, I hope my UK readers aren’t suffering too badly from the smog. My eyes are itching horribly and London today was so polluted that, in comparison, the half-a-dozen trees beside the Tate as I walked up to Blackfriars smelled like a verdant meadow. And then my journey back to Oxford took 90 minutes longer than expected, thanks to a diversion. I feel I could now win Mastermind with my specialist subject as the backstreets of West Wycombe.
I struggle to get through this post without obscenity and all caps. I am aware that Saatchi has only been cautioned for domestic abuse. I would nevertheless be delighted if the words “Wife-choker” appeared in front of Saatchi’s name, every time he is mentioned in print or by broadcasters, for the rest of earthly time. I’m also reminded of the moment in the Forsyte Saga when Winifred Dartie tells her worthless husband “Monty, you are the limit” and it’s so offensive he pushes off to South America for years and years. Nothing else from that era would improve the situation now, but – if only it were so easy to make (wife-choker) Charles Saatchi disappear. At least until Lawson and her children have completely rebuilt their lives.
Also: since some people remain unclear, here is the definitive statement as to What You Should Do If You See A Man Assaulting A Woman (assuming you do not have incontrovertible first-person evidence the woman doesn’t want you to interfere, AND that knowledge outweighs the immediate danger in which she’s in):
Go over and try to stop him, then call the police. IF that would be too dangerous, or take too long, just call the police. If you can do so safely, take a picture of the abuse/aftermath and immediately make it available to the authorities. Not anyone else. And especially not Twitter.
Saatchi’s long posed as a terrible man – hence his book, entitled Be The Worst You Can Be. If only we’d taken the pose more seriously.
(This is a type of post stolen entirely from the lovely Simon at Stuck In A Book. Simon and I first met when we were the only two Masters students who wanted to do nineteenth- and twentieth-century drama. Simon now has a job that I don’t really understand, but which seems to involve him using MS Paint for money, at OUP. Over the years, Simon has introduced me to many things, including the Magdalen salad bar, Irene Vamburgh, and middlebrow interwar women’s fiction. Kirstie Allsopp once replied to him on Twitter).
This weekend, I have been reading How To Live Alone And Like It[1936] and Diary of a Provincial Lady for the first time. The first is a bible for the ‘extra woman’ and a fabulous guide to having a really nice life in one’s London flat. My flat is in Oxford, and I don’t have a maid, so by the book’s standards, I am already failing. I do wholeheartedly concur that one should have manicures and delicious food and splendid clothes whenever possible. I don’t think Margaret Hillis would approve of me eating yoghurt in my pyjamas while I proofread. I would like to read this book forty-five times and then travel back to 1936 and live the book while dressed entirely as Harriet Vane. Diary of a Provincial Lady is also wonderful. Mademoiselle and Vicky are my favourites. What I love most is how they all sit around fretting about pawning great-aunt’s diamond ring and/or the general proximity to penury, but never consider dismissing the servants.
I also reviewed Bitch Boxer, now playing at the Soho Theatre – read the review here.
An American photography and fashion blogger, Melissa Aquino, uploaded scans of the late-90s US catalogue dELiA*s, with its fashion for pre-teen girls. I have been howling in recognition. Whilst I always lived in & bought clothes in the UK, visceral memories of Tammy, Red Herring and the equivalent publications – Girl Talk, Shout, Mizz, Sugar, and the highly unsuitable More – came flooding back. I had Kangaroo platform trainers with a bit of a platform. And things with stripes down the side. What can I say? I was 11, it was 1998, and I think my parents were mostly relieved I’d come out of the Black Clothes Phase that had started when I was seven. In the spirit of the 90s, I’d like a Body Shop lip balm, some gel pens, a chain letter and a nice blue hair mascara.
I am currently designing my first ever term-length Shakespearean syllabus (I’ve taught Shakespeare quite a bit in the past, but not designed a course myself). This is hugely exciting. Those of you who’ve course-built yourselves, how do you prefer to structure it?
Other things I like: the University of Leicester and Dickens Journals‘ collaborative project to read Wilkie Collins’sNo Name online; the utterly fabulous Spanish Les Mis rendition of One Day More, “Sal el Sol” (Geronimo Rauch is the current West End Valjean. The Spanish Enjolras is just pretty); and, crucially, this gin brooch (which was in the Modern Art Oxford shop for £5 more, chuh).
I will now carry on imbibing Radio 4 and trying to rewrite my latest chapter. I have pages and pages of proper theatrical history to get through before I’m allowed to talk about vampires.
On Wednesday, I saw Bitch Boxer at the Soho Theatre; a one-hour, one-woman play written and performed by Charlotte Josephine. Having seen Josephine in Julius Caesarearlier this year, I was excited to see her own work – and, to be honest, I’m a bit in love with the Soho Theatre and their apparent directorial policy of ‘stage work that Sophie wants to see, and don’t charge her more than a tenner for doing so’. For me, Bitch Boxer was an incredibly inspiring, salutary and encouraging piece of theatre. Alongside my fascination with the play’s story and characters, I was delighted to see such a young writer and performer performing with such skill and immediacy – and being so warmly received.
Bitch Boxer is the story of Chloe, a young working-class boxer from Leytonstone, East London, who is gearing up for her final qualifying fight before the London Olympics; the first Olympics in which women could box. I am a bespectacled, myopic, borderline-dyspraxic, undersized and severely uncoordinated scrap of laziness, and I came out of Bitch Boxer wanting to box. The play’s exposition of the sport’s technical side is unexpectedly fascinating. I also found Bitch Boxer a more complex and nuanced exploration of boxing than On It, Tony Pitts’s recent Afternoon Play about the late Liam Jones, a young drug addict who attempted to conquer his addictions via boxing. Both plays tell powerful stories of pain and loss, but Bitch Boxer gets far further beyond the predictable narrative of boxing-as-emotional-salvation. Not only does Chloe use boxing to express and control her adolescent anger, but training and fighting give her an identity that reorders and reorients the rest of her life. Bitch Boxer‘s most emotionally articulate scene is Chloe’s recognition that her opponent in the ring is as determined, excited, frightened and committed as herself. This gives the boxer a compassion and respect for the process of fighting that makes the final confrontation moving, but not mawkish.
I said that Josephine was warmly received by her audience, and the vast majority of the reviews have also been excellent. However, one critic has objected in misogynist – and also misspelt – terms that Charlotte Josephine’s body is not plausibly that of a boxer, and that this physical dissonance damages the integrity and believability of the piece. That is an extremely polite paraphrase of what this lone lunatic actually came out with, and I’m not going to link to the review, because, well, don’t feed the trolls.
Firstly, Charlotte Josephine’s body is very plausibly that of a boxer. Secondly, and not to position myself as the tiny Cassandra of critical misogyny, but after watching Bitch Boxer, I was expecting to find that this kind of play would draw this kind of criticism. Women cannot put their bodies out in public looking like Charlotte Josephine looks, without attractive derisive male comment. Josephine looks fit and strong, in a way that’s toned but which connotes substance, strength and stamina, rather than the ultra-tiny LA yoga bod that’s the mainstream default and pinnacle of the sporty female body. She looks admirably powerful. It’s not really surprising that a woman daring to be visibly sporty, healthy and herself causes controversy: for God’s sake, look at what happened to Rebecca Adlington and Jessica Ennis.
I sat there watching Josephine and I thought how brave she was not to be in Sweaty Betty pinkified sports gear, but instead to look like a boxer, in Lonsdale shorts, black ankle socks and an ordinary vest; all of them sweat-soaked, as the intensely physical piece progressed. And then I wondered what the hell had happened to society, and to my brain, that I found it brave for a young woman to dress as her character without concessions to sexiness, and that I couldn’t ever remember seeing an actress visibly sweat. In order to bring out the troll in one theatrical critic, all Charlotte Josephine had to do was be visible as a professional and as an artist. Quite often, that is all we have to do, as women, to infuriate misogynists: just show up. I encourage you to show up at Bitch Boxer, as soon as you can.
A Snuff Box Theatre production, Bitch Boxer runs at about 65 minutes, includes Eminem karaoke, bereavement, a confrontation with a savage dog, and a controversial pair of Nikes. With Julius Caesar only last month, I’m suddenly incredibly hopeful about the future of feminist theatre.
The cast of Julius Caesar. Copyright: Helen Maybanks.
Long-time readers will know that Harriet Walter is not irrelevant to my interests. I have purchased a certain number of theatre tickets in order to see her perform. I have a certain degree of familiarity with her first book, Other People’s Shoes. She was central to Clamorous Voices, the book after which this blog was named, and she appears in my thesis more than is seemly or subtle for a work that’s supposedly about the nineteenth century. I think she’s the most perfect actress of her generation, I hope to God I’m never called upon to be articulate in her presence, and I have still not forgiven the Queen for making Helen Mirren a Dame first.
(c) Helen Maybanks
For these reasons, I knew I probably wouldn’t be able to review Julius Caesar. Not in a balanced way, or even a way that manages to eschew capital letters and superlatives. Harriet Walter plays Brutus, which automatically precludes all chance of a review that doesn’t devolve into my myriad feelings and/or an anecdote about the time my friend Charlie and I (both then aged sixteen) spent half an hour in a biting wind outside the old RST, so that Walter could sign our programmes for (I think) The Hollow Crown.*
Frances Barber plays Julius Caesar. This is also bad news for my sang-froid. Walter may have played Fanny Dashwood, Lady Macbeth, and Harriet Vane, but Barber played the Bolter and the first Shakespearean heroine I ever saw. She was an Edwardian Viola in the snowy Twelfth Night that may not be as good as I remember it, but the fact is that my six-year-old self fell simultaneously in love with her and Anton Lesser. As Feste, Lesser had ringlets and eyeliner; Barber had a waistcoat. I didn’t know which one I more wanted to be.
So, then, when I found myself in the front row of Julius Caesar at the Donmar Warehouse, watching Barber, Walter, and a monstrous regiment of miraculous women turn Julius Caesar into a mashup of Shakespeare, Sarah Kane, Bad Girls, Chicago and Our Country’s Good, I asked myself a question. Am I going to review this production in a careful, analytical, balanced manner, soberly locating the play in its aesthetic, historical and dramaturgical contexts? Shall I make solemn interrogation of the directorial choices, and cast a cool eye over the production’s lasting influence, and longevity? If you should never meet your idols, you probably shouldn’t review them, either.
This is not a production to be solemn or cautious about. This is a production which demands you enter its world; a women’s prison wing, where the inmates are performing – and in some cases living – Shakespeare’s Julius Caesar. Until now, Julius Caesar is a play I’ve actually preferred to read rather than see, which is a) anathema to everything else I feel about Shakespeare, and b) a direct result of the play having almost no women, and going on about war for too long.
This production’s play-within-a-play conceit interrupts Shakespeare’s action with the inevitabilities of the prison day. Med checks and lockdowns tear up the script, daring to put modern-day swearing next to Roman rhetoric. But deliberately breaking this suspension of disbelief only makes the Shakespeare more real, as the play becomes increasingly important to the prisoners, racing to complete their performance before they’re returned to their cells.
Jenny Jules as Cassius. Copyright: Helen Maybanks.
At its quietest – as when Brutus, played with ravaged elegance by Walter, tells Jenny Jules (a highly flammable young Cassius, all-consuming as the military leader) of Portia’s death – the Donmar production is tender, understated and mesmeric. In exhilarating contrast, the play’s battles become a cross between a riot and a 90s video nasty, with chaotic sequences of lights, drums, and drugged-out dancing.
It’s so rare to see a show that feels so dynamic and experimental, headed by actors who also speak verse with virtuosic ease. Walter and Barber are, as expected, marvellous. Barber, in particular, can slide from sublime poetry to sounding like the Missing Mitchell Sister without missing a single Shakespearian beat. Two of the supporting cast, Carrie Rock (Soothsayer) and Jen Joseph (Trebonius) are alumnae of Clean Break theatre company. Clean Break exists both to stage the experiences of imprisoned women (via award-winning plays), and empower women who are at risk of offending, or who already have experience of the criminal justice system, via theatre-based educational courses.
Frances Barber with Carrie Rock. Copyright: Helen Maybanks.
Both Rock and Joseph gave excellent performances; Rock’s disturbed, too-knowing child has stayed in my mind ever since. Both Rock and Joseph speak blank verse as though it’s not only instinctive, but imperative; that their characters cannot and must not be expressed in any other way. The total absence of anything unnatural – stagey hangups, theatrical tics – meant that they never seemed to be acting. Ironically, Joseph’s overwhelmingly warm stage presence (tell me the name of Trebonius in any production you’ve ever seen) also meant that I assumed I was watching someone who was already very famous, as opposed to someone who merely deserved to be.
Cush Jumbo as Mark Antony. Copyright: Helen Maybanks.
The joy ofsingle-sex Shakespeare lies in creating amazing and unanticipated combinations of actors and roles. Without cross-casting, Cush Jumbo’s performance as Mark Antony would never have existed; Jen Joseph would have been no more likely to play Trebonius than Mark Rylance was to play Olivia.
But one of the most challenging and unsettling things about all-female Shakespeare is that it tips the audience into a world where femininity, not masculinity is the default setting. All-male Shakespeare has the simultaneous advantages of historical justification and novelty. Notions of authenticity and original practice legitimise all-male productions, offering us a glimpse of a history that’s sufficiently distant to make the all-male theatrical event unusual. All-male Shakespeare is affirmed and celebrated where other aspects of “original” performance – the cavalier addition of togas to Elizabethan dress, for example – are largely discarded; nor has the modern Globe begun casting pre-pubescent Juliets. I’m not disparaging any of this; productions like Mark Rylance’s Richard II make theatre far richer. Sometimes the consequences veer towards pantomime, as when the (sorely-missed) Peter Shorey’s Duchess of York harangued Liam Brennan’s Henry IV in the BBC’s 2003 broadcast of Rylance’s Globe show. But that merely shows how Shakespeare thrives on the broadest comedy – else why send Falstaff into a laundry basket, then change him to the Fat Woman of Brentford?
Copyright: Helen Maybanks.
The history of all-female Shakespeare, meanwhile, is the histories of girls’ schools and women’s colleges; organisations like the Mothers’ Union and the Women’s Institute; women’s prisons, and private reading circles from the eighteenth- to the twenty-first century. These may not be traditional arenas for academic attention, but they are – I hope – attracting more and more work from scholars. I’d love to know about Shakespeare as read and performed by all kinds of female groups: Shakespeare by and for landgirls, Shakespeare by nuns (did he make it into convents, or only convent schools?), Shakespeare in nursing schools (back when nursing was a female profession). The final chapter of my thesis is about Shakespeare and the suffragettes – the chapter of my thesis that most excited me, and one which (happily) other people seem to find exciting as well – but I’d love to know more about different, all-female groups. Tangentially, I really regret not seeing the RSC’s partially cross-cast King John last year, because it might have addressed my unease regarding partially cross-cast Shakespeares; I’ve yet to see one that seemed truly successful.
On Monday, the Donmar will release its last Barclays Front Row tickets for the run. While wary of schemes that force people to jump through hoops to get affordable tickets, Barclays Front Row is infinitely better than day-tickets, London-only tickets, or ostensibly benevolent schemes that use young theatregoers to fill unsellable seats. I hope everyone reading this gets a ticket. I hope I’m successful for a second time. If we’re there together, say hello. I really loved this production; I hope you get a chance to do so.**
*Charlie and I could also give a deeply moving rendition of the final seconds of Greg Doran’s The Taming of the Shrew, with both of us simultaneously playing bothAlexandra Gilbreath and Jasper Britton at the moment of “My hand is ready; may it do him ease”. I want you to really imagine two schoolgirls, each one of whom is trying to be two Shakespearean actors at once (while providing very loud commentary on how brilliant they were). Charlie is now a professional actress (in fact she’s Charlie Ryall), but sticks to being one person at a time.
Crossing period and national boundaries, this lecture series will introduce the pleasures and dangers of reading pre-twentieth century literature through a queer-studies and gender-studies lens.
* please note that in Week 8, lecture will take place in Lecture Theatre 2.
Building on the success of last year’s Before Oscar lecture series, we’re back in 2013 – now with added Emma Smith and Naomi Wolf. I hope to see many of you there (you may have noticed that I’m first up, this coming Wednesday…).
I’m delighted to announce that the book Women and Power: The Struggle for Suffrage has been published by the National Trust. It’s available at a National Trust property near you, via The History Press/Amazon, and via the National Trust catalogue.
Today, I was back with 
On Wednesday, I saw 
Frances Barber
