Simon Holton
Hidden away in the heart of the docklands lies a hidden gem. The Space, on the Isle of Dogs, home to Rum and Monkey’s new production of The Gut Girls, is an old converted church. This unconventional theatre space is humble but full of character and atmosphere, and used well by the young company, directed by David England. The play, written Sarah Daniels, is set in Edwardian London, just a stone’s throw over the river in Deptford. This proximity, combined with the unique location and conviction of the company, gives this piece a rare feeling of authenticity.
The play revolves around a professional sub-class of women pejoratively known as the gut girls. They are responsible for preparing slaughtered carcases to be sold as meat, and are considered to be one step above prostitutes. As the storyline develops we begin to realise that the disdain and disgust with which they are regarded is due not to the lowly and gory nature of their work, but rather because of the relative freedom and financial independence it affords them. In an interesting inversion of the inspirational underdog cliché, the already unfortunate girls sleepwalk into having what little freedom and privilege they had taken away from them, as the legislative loophole which allowed them their independence is ironed out.
The central space of the church is used creatively and dynamically by England; the cast entering and exiting by a large number of doors, making miniscule changes to the fluid space to allow an entirely new location, precipitating a pace and variety which belies the play’s hefty tw0-and-a-half hour running time. The action starts off a little stilted, with much of the subtler humour being met with awkward silence. However, by the beginning of the second act, as the audience enter to find the lovely touch of the girls already seated in the space, bantering bawdily amongst themselves, both cast and audience seemed to have relaxed somewhat, and we are firmly on their side.
The cast is accomplished, without exception. The play is full of what are today gingerly referred to as ‘strong women’ spanning both ends of the social spectrum, such the stubborn and pugnacious Maggie and the wry, aristocratic Lady Helena, played by Caitlin Innes Edwards and Katherine Blackshaw respectively. Of particular interest to me were the actors who played multiple roles. Whether this emerged from necessity or design, it foregrounded issues of the superficiality and performativity of a number of ‘roles’, be they gender, professional, class or familial. When an actor leaves the space a cockney gut girl and re-enters a well-to-do society wife, one can’t help but marvel at both the talent of the actor and the ease with which the sleight of hand has occurred.
Despite the unfamiliarity of its subject matter to many of us, the play succeeds in being extremely immersive and entertaining. It is rich and complex, taking on as it does such weighty topics as the oppressive subjugation of class and gender, the questionable ulterior motives of altruism, and the responsibility to resist injustice before it is too late. Remarkably, at the same time it is a down-to-earth, funny story of five friends torn apart by forces beyond their control. The straddling of such diverse theatrical impressions is no mean feat, and deserves commendation and recommendation.
The Gut Girls is playing The Space until the 25 May. For more information and tickets, see The Space website.