THE WATSONS
by Laura Wade
Presented by Bawds at the ADC Theatre from 8th to 12th April 2025
Review by Barry Brown
In this playful romp through and beyond Jane Austen’s unfinished novel, the conventions of the usual Austen dramatisation are taken on an unexpected trip from the Regency period to the present day, stopping off to sample the comic possibilities of contrasting social attitudes, the notion of free will and Monty Python.
It is light-hearted, thoughtful and entertaining and full of characters that start as slightly predictable stereotypes, but develop into fully-realised creations. As one of them says, “A character is a wonderful thing to be.” In short, the whole play gifts a wealth of opportunity to the right company.
And this production, seamlessly energised and directed by Sean Baker, is in every way the right company, bound by a common spirit, fleet of foot and joyful. Staged on an elegantly draped set by Sarah Deboys, beautifully lit by Mark Easterfield and given subtle interjections of sound from Paul Malpas, it achieves an abstract mood, suited to both eras, with exquisite costumes (Tracy James) and wonderful hair and makeup (Hannah Curtis).
Within this polished framework, the Cast rise to the occasion and seize their moments, whilst maintaining character and grappling with the surreal turn of events. At times, as with the death of one of them, it is genuinely moving, but also comic playing of the highest order. From the rough and subsequent tumble of the coarse soldiery (Alisdair Buck and Jake McNulty) to the haughty command of Lady Osborne (Rosie Wilson), melting unexpectedly to the homespun allure of the downtrodden Marxist Nanny (Adela Kerr), the characters are allowed to expand their roles.
Thus, the irrepressible Margaret (Rebecca Williams) is allowed a touching and life-enhancing expression of the joys of conjugal love and the hen-pecked Robert (Andy Dunne) blossoms in debate with the rakish Musgrave (Sam Hunt) and triumphantly invents the telephone. Lord Osborne (Fergus Powell) exudes a befuddled entitlement springing from a complete ignorance of real life and Mrs Robert (Ruth Long) commands the stage throughout and ultimately finds love among the pineapples.
Elizabeth (Philippa Watts) is engagingly assured and enlivens her scenes, setting the tone of the piece from the beginning and eventually finding her reward in the arms of the Church. Mr Howard (James Inman) delivers a subtle and self-effacing performance, Miss Osborne (Kalila Boo Newark) radiates ethereal beauty and even Mr and Mrs Edwards have their moment when they seek to increase their parts.
It is fitting that the youngest character in the Show, Charles (Charlie Blackmore), is the most agile in embracing the opportunities of the future, even if he is forever ten years’ old. Charlie himself obviously has a golden future, magnificently assured and with outrageous ability.
Driving the whole show are Emma, the notional heroine (Beth Honeyford) and Laura, the author of her misfortunes (Sharon Goldtzvik). Both are outstanding in their roles, in particular managing the mind-boggling reveal in the first act with perfect timing whilst staying in their widely different characters and ending the evening on a suitably literary note. Between them, they make the situations real and the whole experience a life-affirming treat.
Just what we all need at the moment.
THE WATSONS – AT THE ADC
by Mike Levy – Cambridge Critique
What is it about unfinished works? They have an immense power to intrigue and fill our minds with ‘what if’ conundrums. How did Dickens intend to end Edwin Drood? What are we missing in Schubert’s Unfinished Symphony? What was Chaucer planning in his hilarious but savagely cut short ‘Cook’s Tale’? Such musings are the stuff of the creative writer or composer. I treasure a recording of Elgar’s Third assembled years after his death from fragments and magicked into a powerful symphony.
So, what did Jane Austen have in mind for the ‘The Watson’s’ – an unfinished (and how!) novel set aside just a few chapters in? This was the challenge set for herself by playwright Laura Wade. She gave us the brilliant ‘Home, I’m Darling’ a few years back. Wade takes us directly in Austen’s familiar world – Emma Watson, a feisty Regency gal but without means and a husband. Various suitors – stable but boring, or handsome but caddish – emerge, there are bitchy sisters and the lure of a rich, castle-dwelling aristocrat who seeks Emma’s hand in loveless marriage. At the point where Emma is proposed to by said lord of the manor, the story stops dead in its tracks. Austen wrote no more. At this point Wade takes up the considerable slack with an astonishing coup de theatre. It would be churlish of me to give away the jaw-dropping twist here but think Pirandello and you’ll get the idea. Also add a dash of ‘Travesties’ and a touch of Dr Who! The result is an astonishing piece of theatre that takes you in so many unexpected directions not least into philosophical debate. There are moments of high comedy, anarchic mayhem and but also deeply affecting soul searching. It is the classic roller-coaster of emotions.
So, how did the local AmDram company Bawds fare with this very challenging play requiring a large ensemble cast and two powerful leads? The answer is extremely well. The play looked rather wonderful with its huge ballroom drapes and accurately costumed cast. The performance area was left fairly empty except for wooden chairs and this gave the performers lots of room to create an ever-shifting collage of stage pictures. The play rarely lets you rest and there is a restless energy – sometimes unnerving – which was beautifully directed by Sean Baker.
Beth Honeyford gave a towering performance as the ever-conflicted Emma. She is on a pot-holed journey of self-discovery and proto-feminism. Demure and very Regency at first, Honeyford took us to an Emma that would certainly fit into the 21st century (slight spoiler here). She held the stage with power but also affecting vulnerability. Sharon Goldtzvik was very well cast as ‘Laura’ – (another spoiler alert) – a writer obsessed with Jane Austen. She too created a very powerful character – funny, sharp but ultimately torn apart by the vagaries of the creative muses.
The supporting cast was also first rate with not a weak link in sight. If I had to pick out anyone from the talented bunch it would be Charlie Blackmore as the impish young boy Charles and Ruth Long as the terrifyingly acerbic married sister in search of a rich brother-in-law.
The play is an excellent choice for an amateur company – plenty of juicy parts – and Bawds did it proud. It reminded me of the alchemy of unfinished works and their power to inspire. But also the potential for disaster. Is there such a thing as an unfinished review? Well I have an excellent example of one which you will never believe. Here it is.