The Children’s Hour
Old Fitz Theatre
Within the context of today’s politics and accusations of “fake news,” Tiny Dog Productions & Dead Fly Productions present a timely production of Lillian Hellman’s 1934 classic “The Children’s Hour”. Its presentation underlines the importance of looking back to a previous time in history to find stories about a valiant struggle for truth. Set in 1937 in New England USA, with fascism on the rise in Europe, “The Children’s Hour” tells the story of two long-time friends and headmistresses, Karen and Martha, whose reputations are threatened when Mary, a difficult child, spreads a lie. “The Children’s Hour” was extremely controversial when it was produced in 1934. It was being considered seriously for the Pulitzer Prize for Drama, but the judges were accused of rejecting it because of the play’s reference to the two women having an affair. Outraged by the Pulitzer decision, the New York Drama Critic’s Circle responded by awarding its own award the next year.
Without giving any spoilers, this isn’t a happy story for lesbians. It represents the time-honoured tradition of realist plays in which lesbians have no choice but to kill themselves at the end (or die otherwise tragic deaths from inoperable cancer or other deadly means). But the play isn’t “about” lesbians but was rather about “a lie.” However, The Children’s Hour has always been discussed as one of the first American plays with lesbian content.
This production at the Old Fitz (directed by Kim Hardwick) is set firmly in the 1930s. The cast use American accents with various degrees of proficiency (Accents/dialect coach: Linda Nicholls-Gidley). The setting itself is quite dreamy with a backdrop of hand painted delicious gauzes by Emelia Simcox. Jimi Rawlings lights the show with sensitivity and as we get into the darker aspects of the story the space becomes almost existential. Restrained support by Michael Huxley in the accompanying music and sound department.
It's the large cast that is exciting. A pack of younger actors playing the students are glorious and particular mention to Kim Clifton who plays the electric and scheming Mary Tilford along with Sarah Ballantyne who deftly plays her hapless victim, Rosalie. Amongst the more seasoned cast is and impressive Annie Byron who is nuanced and powerful in her seniority. Mike Booth is settling into older-man characters and let’s hope we see more of him on Sydney stages. His work is very good. Romney Hamilton, playing one half of the accused headmistresses, has quite authority in her role. Jess Bell is astonishing as the troubled Martha.
More critically, the play really needs a snip or two as it can meander even with the building tension around the snowballing effect of a whisper. This is where is shows its age and it’s a pity some steps were not taken to tighten the screws on an otherwise gripping realist event.
What is more significant is the presentation of this play in a world where there is still an issue of visibility when it comes to writing by women. Resurrecting neglected plays and celebrating the talents of writers like Lillian Hellman are a welcome exception to our theatrical programming. The landscape is shifting, and it is now possible to roll off a list of female playwrights in Australia. This is worth celebrating as is acknowledging the shoulders of giants which we all stand in the decidedly macho business of the stage!
Review by Kate Gaul
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