The Prime of Miss Jean Brodie
Donmar Warehouse, 19th July 2018
The SO obviously is a big fan of Muriel Spark’s novel. We are both big fans of Ronald Neame’s film version, (only the other day I revisited this director’s magnificently cheesy The Poseidon Adventure), though let’s face it that is largely because Maggie Smith delivers a technicolour Maggie Smith performance. No less than David Harrower, (Knives in Hens, Dark Earth, Blackbird and some classic adaptions), was turning book into text here and Polly Findlay was directing. We have actors of the talent of Angus Wright, Sylvestra Le Touzel and Edward MacLiam and I was particularly keen to see Rona Morison again, who was so good in Orca at the Southwark Playhouse in 2016).
But, more than all of this, the big draw was Lia Williams in the title role. I believe Ms Williams is one of our finest stage actors, most recently seen in the Almeida’s Mary Stuart and Oresteia, (alongside Angus Wright as it happens), and, earlier in her career, Oleanna and Skylight. She is also a mean Pinterite, (if that is the word), and I am looking forward to her directing the opening salvo of plays in the upcoming Pinter season alongside Jamie Lloyd.
Now I had not remembered, from the film, just how ambiguously complex a character Ms Brodie is. An inspiration to the girls, (with Grace Saif, Emma Hindle, Nicola Coughlan, she who brilliantly told a twat of a critic where to get off in his insulting review, and Helena Wilson, all superb alongside Rona Morison’s Sandy), who genuinely wants to help then break free of stifling convention, but also manipulative, desperate, unfulfilled with a nasty undercurrent of fascist sympathy. David Harrower’s adaptation makes all this plain, without any need for histrionics, artfully augmented by Polly Findlay’s methodical direction and Lizzie Clachlan’s pared back design. His subtle inclusion of sub-plots involving Nicola Coughlan’s Joyce Emily, who is spurned by Sandy (and belittled by Miss JB) and goes to fight in the Spanish Civil War, and the framing device of Sandy’s book, worked for me.
Angus Wright as the long suffering, and increasingly frustrated music teacher Mr Lowther, and Edward MacLiam as the more volcanic, and damaged art teacher Teddy Lloyd, were admirable foils to Lia William’s Brodie as they vied for her complex affections. Miss Brodie affects to the aesthetic but real human connection seems to scare her. She provokes rebellion but is actually intellectually conservative. Maybe the guilt of Sandy, as the pupil who betrays Miss Brodie and enters a convent as penitence, (which we see in flash forwards through interviews with Kit Young’s journalist), was a little too forward in Mr Harrower’s adaptation, you know she is Miss Brodie’s nemesis from the off, but it does draw out the darkness in Miss JB’s psyche.
Lia Williams is up against some pretty stiff competition when it comes to theatrical Brodies even if we put Dame Maggie to one side. Vanessa Redgrave, Fiona Shaw and Patricia Hodge, as well as Geraldine McEwan on the telly, have all had a stab. I can’t comment on any of these performances but I can’t imagine they were any better at capturing Miss JB’s dichotomies than this.
With a bit of luck this will end up a run out in the West End. If so I heartily recommend you see it.