By Ian Diddams
Images by Chris Watkins
Ruth Ellis was hanged aged 28 years old, by Albert Pierrepoint the official executioner in the UK, at Holloway prison on July 13th 1955. Her trial had taken a little over just one day – the jury took only twenty-three minutes to find her guilty. She made no defence of her own actions though there is much to indicate she was at least coerced into shooting David Blakely and was likely acting under duress and was certainly easily influenced. Court investigations found her not to be insane – again there are indications that this was not as clear cut a scenario.
Her story is portrayed in “The Thrill of Love”, by Amanda Whittington, showing soon at The Wharf Theatre.
This is not an easy play to watch. Its subject matter is of course an indication of that, but it’s the underlying stories that the plot reveals and hints at that are the disturbing aspects. The sexual, physical and psychological abuse by multiple men throughout her life, from her childhood right up until her execution. Her low self-esteem, desperation for attention, acceptance, and love. Clearly self-delusional, gas lighting herself, a neurotic personality,Ruth Ellis was doomed from a young age and the play brings all of these into a stark expose of life in Britain at the time. As her character opines she was “never part of society”.
Debby Wilkinson, Director of this quite superb piece of theatre, explained that it
has been a challenge to bring together, not just because of the subject matter
itself, but that as a historical record in many ways it is vital to reflect the
truth. Debby and the cast spent the first three weeks of rehearsal immersing
themselves into their characters, motivations and the social mores surrounding
that time, before starting to build the show. Their intensive preparation has clearly worked to perfection. All the characters are wholly believable, whether they be the real life characters of Ruth Ellis and Vickie Martin, or the fictional ones designed to reflect aspects of the work relationships and public thought.
Freddie Underwood plays Ruth Ellis. Hers is a staggering portrayal. From bumptious party queen, to mentally downtrodden and crushed, spurned, and beaten lover, Freddie encapsulates the vast array of emotions and reactions to perfection,sometimes just mere seconds apart as scenes develop. Words do not do justice to the depth of her skill. On top of that, she also has nine costume changes in the two hours of the show, one even onstage as she transforms from Ruth Ellis to prisoner.
Vickie Martin, Ellis’ friend, is played by Jessica Whiley. Carefree party girl
with a plan, Jess’s characterisation is spot on. Entering cat-walk model like, to dancing with Ruth, her coquettishness shines through, lithely and gracefully. Jess also doubles up as prison warder and prosecution barrister. The relationship between Ellis and Martin is strong – catty, then supportive, then loving, then bitchy. Both actors excel at this relationship. Their scene where Ellis “teaches” Martin to flirt provocatively with the Gentlemen’s Club’s patrons is also cleverly choreographed and performed; they are both so childlike – whilst existing on the sleazier edges of life.
Overseeing them both is Sylvia Shaw, the Court Club’s manageress. The Court Club is central to the entire play –its is where we are introduced to all the women characters, the club where they work. Mari Webster plays Sylvia, again to perfection. While Martin is coquettish and bright, Ellis focussed yet vulnerable, Sylvia has been there, done that, got the badge. She runs a tight ship, knows the score but is sliding into her fifties with a drink problem and failing health. She is also a mother hen to the girls in her club albeit one with a hard edge … though it is revealed that this is really a trait of self-protection.
The final female part is that of Doris Judd, the char. Mitzi Baehr (who you
may even recognise from some TV appearances) is the calm, collected, caring big sister character that will have nothing to do with the real business of the
club, but delights in supporting those that work there. From cups of tea to sympathy, to post abortion care and a few plainly put admonishments, Doris is, if not the power behind the throne, certainly the grease that smooths the paths of their lives. She loses her husband over her all night devotion to the club, to Sylvia and to Ruth in particular.
That leaves D.I. Jack Gale, representing in many ways, the folks that vociferously opposed Ellis’ sentence and execution. He gets the conviction – but knows it isn’t the full truth, and he is fighting for that truth the entire time, despite the accused’s own blocks to his attempts. He is a decent man, dedicated to his job, to finding the truth. Sean Andrews finds Gale’s inner turmoil and even angst, amongst a sardonic turn of phrase. “London’s a market – and this [The Court Club] is the trading floor” he almost shrugs … before later spending hours going over and over notes, papers, cuttings, photographs of evidence. Sean completes this quintet of superb actors.
The set is a simple one yet effective. The “Court Club” – then later the “Little
Club” that Ruth ends up running – with tables, chairs, a record player, a bar.
Stage left and right empty for police cell, interrogation room, the street, a bedsit. Downstage for a crematorium. Costumes are a delight – aside from Ruth’s dazzling array everything is fitting for the period. Lighting is at times quite brilliant – the last we see of Ruth, hidden in shadow except for a blinding almost halo like shine of her blond hair is a stunning visual.
And surrounding all of this is Billie Holiday’s voice … a soundtrack of her singing washing in, over, around the scenes.
Ultimately, it’s a play about loss.
Of dignity. Of husbands. Of lovers. Of hope.
Of life.
“The Thrill of Love” plays at the Wharf Theatre, Devizes, from May 13th
to 18th at 1930 every night.
Tickets are available from the Wharf website at https://www.wharftheatre.co.uk/show/the-thrill-of-love, or from Devizes Library.
devizine.com 