The world’s best actress in the 1800s returns to the stage through this new original comedy starring Rachael Stirling. Guillermo Nazara shares his views on the show, to let us know if this production should pull its curtain down.
There’s only one thing worse that seeing how your talent goes unrecognized. And that’s for it to be attributed to someone else. I should know, my ghostwriter keeps begging for credit but I wouldn’t give it to him because I’m a stingy b*tch. Very funny, Sebastian – just for that, I’m not letting you out of your cage tonight… Anyway. Let’s move back a few centuries ago, and picture a simpler time where no one had to worry about equality or freedom of speech – simply because they didn’t exist. Now, let’s imagine the best actress in the world – an artist so gifted and refined, no viewer can dodge the charm of her spell. Yet, none of that counts when your fate is to be decided by anyone but yourself.
Last week, the Hampstead Theatre hosted the world premiere of The Divine Mrs. S., a new play by April De Angelis exploring the struggles of the most acclaimed thespian of her era, always finding her excellence to be clouded by the envious self-entitlement of her brother. Directed by Anna Mackmin, in what marks her first-ever return to the venue in the last 11 years, the play is an absurd comment on societal roles throughout History – founded on the recurring premise of the outcast underdog, dragged away from triumph by the clutches of prejudice.
Parting from a compelling premise, the script manages to convey a moderately entertaining plot filled with absurd situations woven together through a reflective (yet hardly subtle) undertone. Sadly, though, this is as good as its writing gets, with the story lacking sufficient depth, form and evolution to allow the piece to flow, entice and, in the end, stay with us after the performance. There’s a few moments you may find amusing, but chances are you will struggle to get hooked through most of them – the reason why perhaps stemming from its underdeveloped recount.
Though presenting us with a rather appealing conflict, the tale still requires more twists and turns not only to endow itself with originality – but primarily, keep the interest all through the narration. With a few scenes feelings, wistfully, a bit bland and unnecessary, the problem is only accentuated by the fact that its humour, way too often, doesn’t project the wit it so blatantly appears to be aiming for – thus, leaving us with too many predictable punchlines which, though not unenjoyable, toil to get what, most regrettably, is generally no more than an occasional chuckle.
There’s still elements to celebrate in this production – those coming, in particular, from its eye-popping visuals. With sets and costumes by Lez Brotherson and lighting by Mark Henderson, the designs work in perfect tandem to create a seamless, rich and evocative depiction of the play’s universe. With Act Two looking much more detailed and varied, the whole montage succeeds at carrying out a meta-theatrical reverie, endowed with dynamism and versatility while also crafting an intricate portrayal of its ambiances.
As for the cast, the company delivers their parts with some flair and high comedic timing. Among them, the biggest praise goes to Dominic Rowan as the frustrated sibling Kemble, proving his astounding humorous and acting skills while giving life to the worst actor in London’s 1800s scene. Along with him, Gareth Snook also makes a memorable appearance in his multi-character rendition of Boaden, Thomas Lawrence and Percy Scraggs, exuding captivating presence and infectious stamina despite a still mildly immature differentiation among roles. On the other hand, Rachael Stirling gives attitude and vigor to her personage through her farcical interpretation, but doesn’t bring enough naturalness to permit the viewer fully connect with her plight.
Putting together an engaging melange of ideas, The Divine Mrs. S. moves heaven and earth to bring the cackles up, but forgets to set up the grounds to let its structure and flow do the trick. In need of a more cohesive style and polished gags, the material has all the components to become achieve victory, but must find a more solid essence that lets it flourish. The answer is not in what it’s said, but how it is said. After all, English bitchiness is known for a reason.
All pictures credit to Johan Persson.
The Divine Mrs. S plays at London’s Hampstead Theatre until 27 April. Tickets are available on the following link.
First Night Magazine 
One response to “Review of ‘The Divine Mrs. S’: “A bit too earthly for her title””
the play the divine mrs S is a slapstick pantomime. Too mature for under 11’s, too unrealistic for teenagers, absolutely useless for the mature.
it tries to convey the discrimination suffered by female actresses but comes over as proselytising.
It doesn’t give the historical context of how most actresses were viewed back then or why and how they came into a profession so looked down upon at the time.
Theatre is for entertainment first, education second. This play failed in both respects.