Circa Theatre
September 1-October 6 | Reviewed by Melody Nixon

CONTINUING in its traditional vein of staunch realism Circa’s current play on offer is a formal, compactly structured period piece by Terence Rattigan. Unexpectedly for The Winslow Boy’s pre-World War 1 setting and storyline, it provides a relevant exploration of many aspects of human nature. Issues of popularism, injustice (both intuitive and systematic), the tyranny of the established order, and romantic love are especially well examined. And unexpectedly for a realist piece The Winslow Boy does not end in murder or suicide. On the contrary it is uplifting, humorous and encouraging, and though not especially challenging or emotionally penetrating for a liberal audience, this Circa production is thoroughly worth a view by those who enjoy competently performed, well-crafted realism.

A solidly structured four act piece, the play culminates in a satisfying series of resolutions. These resolutions are heart-warming rather than contrived, particularly due to the weight of the ‘real events’ that lie behind the narrative. Those events concern the lives of a historical family; the Winslow’s; and the attempts of the Winslow father to gain justice for his falsely accused naval cadet son. The final ‘happy ending’ of the play cannot be therefore be criticised for feeling contrived, but Rattigan does surround this core story with fictionalised sub-plots, and the way in which these side stories wrap up neatly and gaily takes a little getting used to for those accustomed to realism as a genre of tragedy.

Though the play is rich with enthusing performances, those by Jeffrey Thomas, K C Kelly and Kate Prior stand out. Thomas’ Arthur Winslow, the fearsome and un-evenhanded father of the household, is charismatic and sharp. Under firm direction from Ross Jolly, Thomas adeptly charts his character’s journey from assurance and stubbornness into flexibility and self-reflection, mirroring the changes in mindset with changes in voice, tone and mood.

Kate Prior as the Winslow daughter Catherine is also enthralling to watch; she captures the essence of her well-drawn character with ease, providing the elements self-doubt, introspection and ethical conviction needed to keep the role believable. And it is with savoir faire that K C Kelly performs the role of Sir Robert Morton, advocate for the Winslow family and an erudite, astute and wonderfully confused man. The final scene of tension and allusion between Catherine and Sir Robert captivates for its entire length.

The success of that scene contrasts with the awkwardness of the final liaison between Catherine and her suitor John Watherstone (Gavin Rutherford.) Through the ambiguity of the lovers’ dialogue and Catherine’s vow of love the actors manage to create a sense of disconnect; but it seems the full potential of this scene is lost in the overplaying of that ambiguity. The tension of the interaction is perhaps not as stretched as it could be and Catherine’s subsequent resolution becomes obvious and expected.

Emma Kinane provides a concrete backbone for the production in her unwavering portrayal of the servant class of the time; her enunciations as the working class maid Violet contrast strikingly with the eloquence of her employers. Whilst those employers, the Winslow family, are shown to be compassionate and humble in and of themselves, the extent of Violet’s reliance on the family and the denial of her own private rights as an individual come across as appalling and hypocritical injustices. Rattigan’s examination of injustice is elsewhere so thorough in the play it seems likely to have extended to the arrogance and wrong of maintaining and controlling a servant class.

The only slightly incongruous casting choice seems to be that of Stephen Gledhill in the role of Desmond Curry. While Gledhill pulls off the attitude of a depressed and lonely suitor – a character reminiscent of The Seagull’s Medvedenko – his former life and glory as a national cricket star is less easy to believe.

Political themes surge beneath much of The Winslow Boy’s dialogue, the thread of feminism being particularly strong. Catherine is a young suffragette, and weathers claims from many that she is fighting a losing battle. Her Reason and informed political views push forward the central cause of gaining justice for her brother, ‘the’ Winslow boy and in an interesting reversal of stereotypes her father states that it is with his “intuition and [her] reason” that they fight the injustice of the status quo.

John Hodgkin’s set design places this drama superbly. Antique three-legged tables, wall paneling, Gainsborough-like paintings and “real” rain (which unfortunately squeaked on opening night) take verisimilitude to an extreme in a space reminiscent of Ibsen’s drawing rooms. There is even an “inner room”, complete with lamps and sofas, which we glimpse through an internal door. Gillie Coxill complements this appearance of reality with well studied costuming.

Circa’s The Winslow Boy offers a chance to see a competently produced and adeptly performed piece of 20th century realism. While it is not outstandingly challenging or thought provoking, its political themes stir sympathy and raise interesting ideas about injustice and responsibility; and its humour and pace make for a fully entertaining evening.

See also:
» The Winslow Boy (Reviewed by Kate Blackhurst)