By Steve Trafford
Nell’s problem is shadowed by way of her devoted, wry, maidservant Margery, whose personal tale is a mystery narrative of well known yet defeated republicanism. She’s no whore, yet one other survivor of bloody tumult whose destiny is also hoist at the lifestyles and dying of a patriarch. We see Nell in breeches, an ideal boy, we pay attention her sing like an angel; Margery dances, empties chamber pots, and supplies either companionship and remark on revolution, recovery, lust, love, intercourse, category, and power.
Written with a richness of language that captures the bawdy wit of the recovery level, interwoven with Henry Purcell’s haunting songs of the English Baroque, this play is a very good vignette of england then and now within which the non-public is heroically, hilariously political.”
Beatrix Campbell OBE
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