The stage adaptation, Extraordinary Women, is based on Compton Mackenzie's 1928 satirical novel of the same name. The novel deals with a group of bohemian women who inhabit a world of love affairs, petty jealousy and emotional manipulation. Whereas in the novel the central character, Aurora, is portrayed as an innocent younger woman who becomes infatuated with the slightly older, more worldly-wise Rosalba. However, in this theatrical version, we have an older woman who is obsessed by a young, promiscuous lesbian. Mackenzie's wry depiction of the complicated couplings and petty intrigues of the coterie who live on the island of Sirene is still present, but at the core of this narrative is actually a rather sad story. Like some of the music in the show, it more closely resembles the tale of unrequited love recounted in Stephen Sondheim's musical, Passion, rather than Mackenzie's story. As the obsessive and rather pathetic Aurora, Caroline Sheen creates a beautifully etched portrait, although we are never given any insight into what psychological deficiency causes her obsession with the shallow and manipulative Rosalba. As the controlling Rosalba, Amy Ellen Richardson seems to be physically channeling Marlene Dietrich, and in the dance sequences, with her top hat in place, she actually manages to suggest that star's enduring mystique. However, that intriguing quality is completely undermined by the dialogue and actions of her character as it is written. This Rosalba is so obviously a bipolar narcissist that Aurora's passion for her becomes completely incomprehensible. Indeed, anyone in reasonably good working order would fairly quickly recognise Rosalba's issues and give her a wide berth. Why doesn't Aurora? It also seems curious that, although it is Rosalba who is the siren of this piece, other members of the cast actually play the Sirens, and they, plus the poet Sappho, are employed to act as a kind of chorus. It is a device that adds an unnecessary and confusing layer to a play which is rather thin on plot and somewhat overloaded with characters. That being said, Sophie Louise Dann, Jasmine Kerr, Amira Matthews and Monique Young, despite some issues with accents, all do a commendable job as the artistic dilettantes who disport themselves on the island based on 1920s Capri. In particular, we appreciated the characterisation and energy that Matthews brought to her roles of Sappho and Olimpia. As the sole male member of this ensemble, Jack Butterworth also stands out and not only because of his gender. He does top-notch work at creating a variety of characters, and his lightning fast costume changes become an amusing highpoint of the show. Costume designer Carla Joy Evans also deserves acknowledgement for some absolutely delightful creations. They neatly capture both the period and the eclectic personae. Extraordinary Women has both strong performances and some amusing moments, but the script for this musical needs reworking if it hopes to live up to its title adjective.
Rated: ★★★
Reviewed by J.C.
Photo by Steve Gregson
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