Katherine Moar’s latest play grips and enthrals in the way in which it explores power and privilege.
Inspired by the true life events of Patty Hearst, a media heiress who was kidnapped by purported US guerilla group the Symbionese Liberation Army in 1974 and later convicted of robbing banks with them – despite the fact she was coerced, this play is a gripping 75 minutes.
Tightly written by Katherine Moar, ‘Ragdoll’ beautifully intertwines the past with the present. We meet Holly and her former lawyer Robert 40 years after her trial, because he needs her support in a very different type of trial that he finds himself entangled in: atrial by the public and media in a situation that brings to mind the #MeToo movement. With barbed conversations taking place between the pair, the audience is then whisked back to Holly’s trial for robbery, when Robert is making a name for himself as an up and coming lawyer.
As the story develops and we learn more about how Holly and Robert’s relationship has ended up where it is, themes of power, privilege and responsibility are beautifully explored to ensure that the audience are kept captivated throughout. It is particularly clever in the way in which the older versions of the characters watch the younger versions – even turning on each version of themself to electrifying effect towards the end.
There is a real rawness to everything that unfolds and thanks to Josh Seymour’s excellently judged production that shows real depth and understanding to the characters and real power to every conversation. The only thing that I would say is, where I was sat there was a moment or two where I couldn’t see a couple of the interactions – but this is a minor complaint and only because I didn’t want to miss a moment of it.
The Jermyn Street Theatre is the perfect venue for this play, as its intimacy means that you can really feel the intensity of the emotions that are on display in both the past and present for the characters. Ceci Calf’s set design, which is surrounded boxes that contain Robert’s memories as well as an over priced (as mentioned in the production) sofa that represents the last hold that Robert has on his fame and fortune which looks increasingly shaky, is wonderfully incorporated into uncovering this story.
Meanwhile, the cast themselves all work wonderfully together to bring the characters and capture where they are in life beautifully well. Abigail Cruttenden as present day Holly is wonderfully cutting as she finally gets the chance to confront Robert over his actions back when she was on trial. There is a real rawness to her performance that never lets up. She is well matched with Nathaniel Parker as present day Robert, a sense of despair and increasing anger in his performance as his regrets in the choices he has made for valuing fame over honesty and helping those who need it. It is a really nuanced performance.
As the younger versions, known as ‘The Heiress’ and ‘The Lawyer’, both Katie Matsell and Ben Lamb offer engaging and increasingly fascinating performances. In particular, Matsell as the naive heiress is wonderfully engaging as the trial reaches its head, clearly delving deep emotionally to heartbreaking effect. Lamb offers plenty of swagger and self-confidence as the lawyer who is using her case to get ahead. The writing for their section really captures the spirt of the 1970’s society and the darker sides to America at that time.
Overall, Ragdoll is a throughly impressive second play from Katherine Moar featuring strong performances that leave an impression long after the show has ended. Thoroughly recommended.
By Emma Clarendon
Ragdoll continues to play at the Jermyn Street Theatre until the 15th November.
Rating: ❤️❤️❤️❤️❤️