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| Cast | |
| Mrs Klein | Pam Sage |
| Paula | Gill Grubb |
| Melitta | Charlotte Bacon |
| Crew | |
| Stage Manager | Andrew Kelly |
| Assistant Stage Manager | Stephanie David |
| Set Design | Tony Donnelly |
| Set Construction | John Vinnels, Ron Andrews |
| Set Painting | Steve Grubb, Annette Tranter, Tony Donnelly |
| Costumes and Hair | Wendy Marsh and Cast |
| Lighting Design | Jerry McKeon |
| Lighting Rig | Jerry McKeon, Chris McKeon |
| Lighting Operation | Helen West |
| Sound | Michael Smith |
| Properties | Jenny Devonshire, Annette Tranter, Desni Hanford, Mike Wright, Roz Betts, Tony Donnelly |
| Crew | Yvonne Golding |
Review
Was figure a monster or great genius?
Child psychoanalyst Melanie Klein was
the subject of a fascinating play by Nicholas Wright at Bexleyheath's
Edward Alderton Theatre recently, writes Mark Campbell.
Set in 1934 London, Mrs Klein offers a tantalizing insight into the
life of this influential figure. Although largely forgotten nowadays,
her revolutionary therapeutic techniques had a huge impact on
contemporary ideas of childcare. But Klein's personal background was
littered with tragedy.
An unwanted and unloved child, her brother and sister both died when
she was young, her marriage ended in divorce and her son, Hans, died
in unexplained circumstances. Her daughter - and case study - battled
with her over her theories and eventually emigrated to Australia, the
pair never reconciling.
Wright's 1988 play begins with Melanie Klein (Pam Sage) interviewing a
possible new assistant, Paula (Gill Grubb), whom she hopes will take
over from her rebellious daughter Melitta (Charlotte Bacon). But when
Melitta accuses her of causing Hans' suicide, she is quick to
interpret events in a completely different way. This interpretation,
though, is based on her knowledge of psychology, rather than her
wisdom as a loving mother.
Mrs Klein posed the question: was Melanie Klein a monster or a
genius? That it never satisfactorily answered it was down to the
intrinsic complexities of the character, brilliantly portrayed by a
luminous Pam Sage.
Gill Grubb was extremely good as the
shy new assistant Paula, whose burning desire to be analyzed by Klein
grows apparent as the play progresses. Often having very little to
say, her presence was always tangible.
Charlotte Bacon, looking gorgeous in a green silk evening dress, was
every bit the spoilt child determined to flee the claustrophobic
embrace of her mother, yet at the same time frightened to venture out
on her own.
The acting throughout was terrific, with every nuance of Wright's
insightful script coming over clearly and forcefully. There was a
surprising amount of humour, mostly black, and this was exquisitely
delivered too.
Sensitively directed by Tony Donnelly, with a superb set built by John
Vinnels and Ron Andrews, this was a confident production that deserved
a bigger audience.
Mark Campbell
Bexley Times |
24 May 2007
1. Press Release (PDF)
2. Kentish Times preview
3. Kentish Times review
