Driven by its clever direction, innovative use of puppetry and engaging cast, J. M. Barrie’s colourfully wrapped QUALITY STREET leaves a sweet taste in the mouth.
J. M. Barrie’s colourfully wrapped, sweet treat heads to Bolton Octagon as Northern Broadsides continue their tour of QUALITY STREET. The ill-fated production was into a 14-week tour in 2020 but was cut short due to a much-discussed global pandemic.
The play centres around the love affair between our protagonist, Phoebe ‘of the ringlets’ Throssel (Paula Lane) and the ‘frank, genial’ Valentine Brown (Aron Julius). Taking place around the time of the 19th century Napoleonic Wars, the pair are separated by the latter’s enlistment in the army – only to be reunited when the now Captain Brown returns to his home on Quality Street some ten years later.
Phoebe and her sister, Susan (Louisa-May Parker), set up a school to help them get by, a somewhat desperate situation and not one they are particularly prepared for or indeed fond of, as shown by their distaste for algebra and Latin. Finding herself now ‘old’ (nearly thirty!) and indulging in self-pity, she is horrified to see Captain Brown returning, terrified that he will no longer see her as the rebellious, unique woman she once was. This is very cleverly shown through costume, with simple changes completely changing her demeanour: her ringlets are hidden with a bonnet, her dress neckline is hiked up, and glasses are provided to give her a more studious appearance. Following comments from Valentine himself, Phoebe hatches a plan to bring him down to her level – for she can live without the love of a man, but he has made her lose her love for herself.
Lane’s performance as Phoebe (and her ‘niece’, Livvy) is complex and intelligent. There are distinct differences between the pre and post-war versions of her character, alongside the highly flirtatious Livvy. This is nicely juxtaposed by Parker’s Susan, who is more fitting of the stereotype of a woman of the era: polite, ladylike, and more concerned with appearances.
Aron Julius also brings a clear change in his character, as the war has clearly affected him: he returns an amputee, but also evidently older and more mature. Whilst there are some more featured characters, the piece has a strong ensemble feel, with solid multi-role performances from the rest of the cast – particularly Gilly Tomkins as both Patty and factory worker Barbara.
Workers from the Halifax chocolate factory were invited to watch rehearsals to get their take on the play which inspired the sweets, with Northern Broadsides then taking verbatim quotes to create their roles within it. The workers are represented as a sort of narrator and, at times, an extension of the audience. The gender-neutral casting here works to eschew any confusion for the audience, allowing them to accept the portrayal of real people.
The factory workers are used to set the scene both literally and figuratively for the audience, initiating set changes, debating the action, and even getting caught up in it at times. This is one of several clever direction choices by Laurie Sansom and the creative team, also including puppetry to denote the children of the school: the connection of the puppets into the costume allows the audience to focus fully on them as characters, rather than seeing actors with puppets. There are nods to the factory and the ‘play within a play’ being as one throughout, with the set itself being a combination of 19th-century classroom and floor-to-ceiling plastic sheets; characters wear ball gowns to represent the wrappers of the chocolates, whilst some of the factory workers dance around them in lab coats and hair nets.
Transitions from one to the other were seamless and very much allowed the audience to feel part of the action (not to mention the famous sweets which inevitably made an appearance, handed out at the start of the second act). These, alongside the nicely interspersed humorous moments and the blossoming relationships between characters, leave a very sweet taste in the mouth.
QUALITY STREET runs at the Bolton Octagon until 6 May 2023.
Michael is a working actor. He studied Drama at Edge Hill University and his main passions are music, sport and acting. Alongside acting, Michael DJs around Manchester and, if not there, is usually found watching football or cricket!
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