I love this play and studied it at A level and it left a mark on my heart for its exploration of female roles and changes in social structure across the 20th century. This is presented through the intertwining stories of the lives and relationships of three generations of women: Doris, her daughter Margaret, her daughter Jackie and Jackie’s daughter, Rosie. Told in flashbacks, episodes in different time and place, the play jumps around whilst retaining the connection of the women through a set of surreal ‘Wasteland’ scenes where all three women are unified as their child selves, playing together and enacting their childhood simultaneously. A clever tapestry so well crafted by playwright Charlotte Keatley as the narrative explores key moments of happiness and sadness of the characters throughout their lives'.
It is very difficult to write a brief plot summary that does justice to this non-linear play as it weaves across 60 years of life, death, birth, marriage and living. Written in 1985 and first staged at the Contact Theatre, Manchester, Charlotte Keatley’s award-winning play is the most commonly performed work by a female playwright worldwide. My Mother Said I Never Should has been translated into 22 languages.
A small audience on opening night were completely absorbed by the well-crafted plot which moved at a great pace of acting and dialogue. The set was one of the wasteland of objects from the women’s lives with a fence structure and the scenes were set within this setting. A very clever set and I really enjoyed the junk piano for Margaret’s first scene practicing under her mother’s austere and disapproving watch. The actors established their distinct character and age convincingly. Judith Paris’ Doris was old before her time in the early scenes as the mother and unloved wife. As the story progressed she got younger, more accepting and became the haven for young Rosie to flee to for acceptance and understanding. Doris’ final monologue – a flashback to the day her husband proposed – was a joy to watch. Youth flooded onto her face and I was moved by the tangible joy of her feeling ‘truly happy’. Margaret, played by Lisa Burrows was suitably downtrodden and the put-upon mother, taking on her daughter’s child as her own, but we saw the constant impact of her childhood where she was not allowed to be openly demonstrative of her love as she micro-managed Rosie’s life.
Her death monologue was truly touching as she called for her mother, ‘Mother… mummy.’ I was moved to tears. Beautiful acting by Lisa. Jackie was loud and crassly played by Kathryn Ritchie. Her self centredness driven through having a child so young and giving her up then finding success, fame and fortune came across well. Her scene where she gave up Rosie to her mother; with her red sock; was poignant and touching. I felt her pain as she did something that any mother would shudder at the prospect of. Kathryn showed us the softer, damaged and desperate part of Jackie’s character where her world had collapsed. Lastly, Rosie, played by Rebecca Birch gave the lighter, younger element to the women, portraying a youthful Rosie who is only 16 at the end of the play. I enjoyed Rebecca’s stroppy, selfish teenager and her bratty responses to her strange relationship with Jackie (who she thinks is her sister but is actually her mother). Her crying in the baby scene in the flat where her mother is saying goodbye and Rosie watches and cries was spine-chillingly good.
I really enjoyed this new production of the play. I think that London Classic Theatre had developed the plot a little bit more with Doris particularly who was the stalwart of the piece and that the set was very effective to support a reworking. The swift action and lack of blackout and scene changes really aided the pace so it did not drag as we moved on and as previously said, the actors had excellent pace in their dialogue but were clear and distinct and I did not miss a single word.
Reviewers - Kathryn Gorton and Jackie Holt
on - 2/4/19
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