Eleanor, a play written and directed by Agnus Perry-Robinson, and performed at La Belle Angele managed to epitomize the essence of female friendship. Eleanor follows the life of ‘Tussy’ Marx, a vivacious, obstinate, passionate activist, who is cursed to live in the shadows of her name, her lover, and her all-consuming heightened emotions. The constancy of sisterhood between her and Dollie Radford, a passion for Shakespeare and theatre, and her all-prevailing sense of absolute justice try to counter abuse and infidelity, yet it is a gut-wrenching sense of internal desolation that we are left identifying. The strength of female friendship, and the helplessness of love are portrayed fiercely.
The characters were established with youthful joie de vivre, bounding onto the stage; fearlessly proclaiming statements of proud resolve in disdain for marriage, dancing with the devil, and female empowerment. In this, a Little Women dynamic was identifiable. Just like Teddy and the March sisters, led by Jo, Tussy heads scenes of Pyramus and Thisbe, Hero and Beatrice, conducting the energy and dominating the stage. Arlene McKay and Nelly Greig gave outstanding performances as Eleanor and Dollie, their characters clearly very close. At no visible point were the two not connected: either resting their heads on each other’s knees or gazing with adoration as the other boasted talent. A dynamic of boundless love and support between characters was firmly established; a template to which all ensuing relationships fell short.
The romantic arc of the plot could only ever be secondary to this platonic love. Greig’s portrayal of Dollie’s loyalty was tearjerking in its constant spiral of concern; the undying love for her friend making her physicality inverted, abasing in an outburst of forlorn passion. McKay’s never ceasing energy, whether she was visibly repressing Tussy’s shame, breaking down in embarrassment or grief, or imploding in passion and verse, ensured that the character of Eleanor dominated every scene, even those she was not in. Moments of retaliation against her lover were so courageous that moments of defeat resonated with greater intensity.
Other standout performances came from Columbus Mason playing Edward Aveling – the odiously abusive lover of Tussy who, due to a quick temper, commanded a silent fear on stage. The lack of any redeeming characteristic made Tussy’s tragedy the greater for her lack of taste in men. This complimented the contrasting character of Ernest Radford, played by Kris Gudjonsson; the supportive, respectful husband of Dollie who appreciated the sanctity of female friendship, never attempting to overshadow his wife’s accomplishments. Rider Hartley, playing Tussy’s brother, also acted as a deferential, humble admirer of these female empowered relationships; humorously chipping away as any sibling might, but also being a source of comfort and support when needed. It is important to note that the male characters were static; well-developed, with unique personalities, but there primarily to coax the plot along, and offer aid to Eleanor’s story.
The writer and director Agnus Perry-Robinson was described by members of her cast as Eleanor herself, and it offers an interesting insight to think that her childhood and homelife were the starting point in these character’s relationships; Bloomesbury-esq in artistic similarities. Perry-Robinson’s characters were brought to life by an incredibly talented cast, but the writing speaks for itself. Tackling tragic themes and real relationships, the script was not at any point tacky, but mature and resounding in meaning. Still at University, Perry-Robinson is a playwright to keep an eye on.
It is disappointing that it has taken so long for the story of Eleanor Marx to be shared; the strength of love between Tussy and Dollie never depleting in the face of such smothering grief.
Image by Kit Bloor provided via Press Release.