The Bear Pit do justice to Lucy Kirkwood’s powerful drama of injustice

Kumari Venn as Sally. Photo by Chris J Clarke.

The Welkin. Performed at The Bear Pit Theatre, Stratford-upon-Avon, from 19 - 27 September. Directed by Nicky Cox.

Review by Charles Essex.

In rural Suffolk in the mid-1700s, a girl is found brutally murdered. Sally Poppy [Kumari Venn] is the perpetrator.  She will be hanged unless she is pregnant, in which case she will be transported to a penal colony.  A panel of local women is pressganged into deciding if she is pregnant. Waiting a few months would reveal the answer, but they are given one hour with no food, water or fire to decide. 

Whereas the jury in the film 12 Angry Men is deciding the verdict, the 12 women in Lucy Kirkwood’s powerful play already know the accused has been found guilty.  Each introduces themselves to the audience at the start, but Director Nicky Cox cleverly cuts short repeated legal oaths and this moves the play along apace. 

Richard Sandle-Keynes as Dr. Willis. Photo by Chris J Clarke.

The women were perfectly cast, each playing their role, whether large or small, with assurance, and there is not a weak link among them.  Carol Roache is the prudish Emma, obsequious to the refined Mrs Cary [Zoe Mortimer], whilst blunt Scottish lass Kitty [Amanda Anderson], and not-too-bright Mary [Natalie Kaminski] add humour to unfolding events.

Lily Skinner as Midwife Elizabeth takes the Henry Fonda role, robustly cajoling, berating and pleading with her peers.  She portrays a real passion about what she sees as the injustice of the situation that they, not just Sally, find themselves in.  Sally in no way tries to engender sympathy from those deciding her fate, as Venn conveys her oscillating moods of aggression, provocativeness, malice and fear. 

Holly Gorne as Lady Wax. Photo by Chris J Clarke.

The script has laugh-out-loud moments as the women bicker and banter about husbands, sex, childbirth and menstruation and, the raison d’être for Kirkwood, women’s place in society.  In what is brilliant scriptwriting, she cleverly gives each character a backstory and different agenda – multiple children or none, several husbands or widowhood, child abuse and incest or a happy marriage.  And different reasons for wanting to believe Sally is pregnant or not – bitterness that someone like her may have a baby, Sally being a victim of domestic abuse, or even wanting a rapid decision as there is a field of leeks to be picked.  Truths are revealed, friendships form and are broken. 

The set was a feat in itself, with wood panelling, staircase, mezzanine and fireplace, and a tribute to the construction team, whilst the simple peasant costumes wordlessly convey the background of these women.  Hats off to The Bear Pit for their strongest production to date.

Tickets from www.thebearpit.org.uk