THE MISTRESS CONTRACT
by Abi Morgan inspired by the memoir The Mistress Contract by She and He.
Royal Court Theatre (Jerwood Theatre Downstairs) Sloane Square SW1W 8AS To 22 March 2014.
Mon-Sat 8pm Mat Sat 3.30pm & Thurs 3.30pm from 27 Feb.
Audio-described 1 Mar 3.30pm.
Captioned 5 Mar.
Runs: 1hr 25min No interval
TICKETS 020 7565 -5000.
Review: Carole Woddis 15 February.
Feminism, sex and tedium.
Feminism is challenging. Always has been. It can ruffle the most sanguine feathers, set off domestic revolutions. Seldom is it boring, which is why it is sad to report that Abi Morgan’s play falls surprisingly into that category.
Not all the time, and towards the end definitely not. But for a large swathe of The Mistress Contract’s 85 minutes, Morgan’s dialogue, `inspired’ by the real-life tapes of an American couple who entered into just such an exchange, really did send some to sleep and me to exasperation.
The story goes like this. `She’ gave herself sexually to `He’, in exchange for which he undertook to keep her in `tasteful accommodation’ with accompanying expenses.
This is a not unusual compact in the history of mistresses and patrons. The chink in this argument is the fact `She’ was a feminist and the contract her proposal. Is her proposal `radical’, a `betrayal’ or just plain pragmatism in action, from someone penniless with two children to keep and feed?
Meeting at college in the 1980s when both were middle aged, `He’ is now 92, `She’ 88 – remarkable enough in itself. The problem is that, though this situation may raise various burning issues about men and women and sexual equality, the artefact that arises from it seldom grips sufficiently to make one care.
If Morgan was `inspired’ by the couple’s words, where exactly do they stop and hers begin? As Saskia Reeves grinds through the everyday occurrences that occupy the tapes, sometimes espousing feminist feelings, sometimes domestic, interest falters.
Maybe it was the production’s intention for Reeves’ `She’ to appear dull, unresponsive, monotone in speech and emotion as a modern feminist setting out on an `experiment’, after two failed marriages, to see if she can love men again.
But it becomes very hard to see the attraction Danny Webb’s warm, affectionate `He’ has towards her. Far from encouraging our sympathies in her direction, the duologue pushes us the other way.
Only towards the end, in the longevity of their relationship and ageing frailties of their bodies, does The Mistress Contract ignite passion and engagement.
She: Saskia Reeves.
He: Danny Webb.
Director: Vicky Featherstone.
Designer: Merle Hensel.
Lighting: Natasha Chivers.
Sound/Composer: Nick Powell.
Dialect coach: Penny Dyer.
Assistant director: Debbie Hannan.
The Mistress Contract was first performed at the Royal Court Jerwood Theatre Downstairs, Sloane Square, London on 30 January 2014.