Nell Gwynn

  • Comedy
  • By Jessica Swale
  • Director: Christopher Luscombe
  • Musicians: Emily Baines, Sharon Lindo, Richard MacKenzie, Nicholas Perry
  • Cast includes: Gemma Arterton, Anneika Rose, Michele Dotrice, Sarah Woodward, Sasha Waddell, David Sturzaker, Jay Taylor, Michael Garner, Greg Haiste, Nicholas Shaw, David Rintoul
  • Apollo Theatre, London
  • Until 30 April 2016
  • Review by Hannah Connell
  • 16 February 2016
Nell Gwynn
3.0Reviewer's Rating

Jessica Swale’s play is an enthusiastic tribute to the extraordinary life of comic actress and mistress to King Charles II, Nell Gwynn, and to the controlled chaos of life in a theatre. Her script balances bawdy humour and witty asides to the audience with serious reflection on the place of women in 17th century society.

Swale explores Nell Gwynn’s charmed transition from orange-seller in a playhouse to one of the first female actresses on a British stage where she catches the eye of Charles II and becomes his favourite mistress. Nell negotiates the expectations of both a male-dominated theatre and a royal court with courage and good humour. This play offers upbeat comedy with moments of insight into the complexity of fame and influence.

Gemma Arterton deftly depicts Swale’s feisty Nell Gwynn. She is exuberant and disarming, offering both salacious ditties and moving self-reflection. She is at her best when courageously confronting the expectations of the men around her and wittily challenging the social conventions of the time. Her rapport with King Charles II (David Sturzaker) is delightful and easily conveys the true affection between the two. The greatest joy to watch is Nancy, Michele Dotrice, Gwynn’s dresser and understudy, whose easy humour and impeccable comic timing affords genuine enjoyment. Witty references to current events and relentless innuendo keep the audience constantly laughing.

Swale’s play unfolds within the lavishly designed Drury Lane playhouse, with Arterton emerging from out of the audience. From the start this play draws you into the action with a coy acknowledgement of being watched, topical jokes and sly winks to the audience. The popular spirit of 17th century theatre is alive in this performance reflecting Nell’s assertion that actors should be the voice of the people.

Swale avoids heavy Restoration-era language in favour of a contemporary rhetoric which more accurately conveys the atmosphere of life in the theatre. Occasional anachronisms only heighten the comedy and serve to remind us of just how far ahead of her time Nell’s grand ambitions and assertiveness really are. The cleverly designed set, only lightly adapted to portray Nell’s move from the playhouse to the palace, suggests the continuity between the artifice of acting both in the theatre and at court.

Live music, dancing chorus boys and the appearance of the king’s cocker spaniel all come together to produce a varied and uplifting performance. Interspersed with serious moments Swale’s Nell Gwynn offers pure escapism for an evening and a lot to think over in days to come.

About The Author

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Hannah Connell is an MA student of Russian and East European Literature at UCL. She is passionate about poetry, art and architecture. Her background in modern languages in fuelled by her interest in foreign literature and drama, an interest in culture and theatre that springs from her introduction to great English playwrights at school. On the side she pursues her interest in design through painting and pottery-making.


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