Pretty Witty Nell
Merry Monarch’s Mistress
Pretty, Witty Nell
by Ryan J-W Smith
Rogue Shakespeare at the Baron’s Court Theatre until 22nd July
Review by David Stephens
In the gloom of the English civil war and through the resulting years of austerity and religious suppression imposed on the downtrodden population by the largely puritan parliamentarians, life in 17th century England was bleak and largely devoid of fun and enjoyment. Punishments were issued for such things as taking leisurely strolls on a Sunday (the Lord’s Day), and joviality and over-exuberance were harshly frowned upon.
When Charles II was invited back onto the throne in 1650, therefore, he believed that the way to the hearts of his subjects would be to restore many of the pursuits and past times that had been banned under Cromwell. Furthermore, it was thought that a well entertained (distracted) population would be far less likely to desire a return to the gloomy days of republican repression. Seeking ways to improve the morale of his subjects, he even became far more affable himself, often attending public events and becoming generally more visible.
To aid him in improving entertainment, the construction of two new theatres was ordered; The King’s and The Duke of York’s theatres. Furthermore, for the first time in English history, women were allowed to act upon these stages, providing a much needed escape from lives of alcoholism and prostitution. Availing herself of improved access to both stage and King was the young Eleanor (Nell) Gwyn.
Taken from his book Rogue Shakespeare, Ryan J-W Smith brings his play, Pretty Witty Nell to the somewhat claustrophobic but equally atmospheric stage of The Curtains Up theatre, Baron’s Court. Crafted poetically, using rhyming iambic pentameter, this stylish piece charts the true-life story of Nell Gwyn and her journey from orange-seller to King’s mistress. Told ‘autobiographically’ by Nell herself (played by Hannah Attfield), the piece provides the audience with a poetic account of her life and times.
Anyone who has attempted to write verse in rhyming iambic pentameter before will tell you just how challenging it is. Shakespeare had a pretty good go at it, but many have tried and failed. Often people fall foul of using inappropriate words to fit wither the rhyme or the metre, or both. It is particularly rare art nowadays and incredibly brave to take such a project on. However, not only does Smith succeed in this, but he does so with a style which makes the story engrossing from start to finish. Fifty-five minutes of poetry is delivered without a single dull moment. None of it rhyming for the sake of rhyming or fitting the metre for the sake of fitting the metre. Every word, every line painstakingly considered and, therefore, worthy of tremendous praise. I was fortunate to have been given a copy of the text and, having read it several times now, can only marvel at his craft.
But what’s the use of a monologue containing such rich text if the actor simply can’t do it justice with their delivery? Well, no need to ask that question here as Hannah Attfield, in her portrayal of Nell, excelled in every element. Not only did she remember every single word of this near hour-long poem, but she delivered each of them with wonderful energy and great enthusiasm and with a thoughtfulness that had her audience captivated throughout.
Congratulations to Rogue Shakespeare on a highly memorable production and we look forward to seeing more of your work in future.
David Stephens, July 2023
Photography by Ryan J-W Smith
Mark Aspen 