A tender and pertinent portrayal of women’s contested mission for the right “to understand the world, not just see it”
The creativity of the Oxford Playhouse’s Young Company came shining through before the show even began. Audience members were invited up onto the stage itself, transformed into a beautifully intimate black box performance space. The audience were seated in traverse configuration, framing a stage flooded with warm light, enhanced by a gobo to imitate sunlight through stained glass. This, alongside the University of Cambridge banners hanging from the flies, situated us vividly within a College chapel.
The show began with the full company, fourteen actors aged between 17- 25, reciting an acapella version of the 1896 Girton College anthem, in both Latin and perfect four part harmony. The story swiftly unfolds to introduce Tess (Anna White), Maeve (Georgina Peters), Celia (Miranda Barnes), and Carolyn (Lorena Vidal); the first four women to attend Cambridge university, in a world where, “knowledge is the only thing a woman can own”. While matching, and often exceeding, their male peers academically, these women would be regarded as unnatural, inferior ‘Blue Stockings’, their hard work and achievements undermined as they are denied a formal graduation. They encounter prejudice and sexism from professors, lecturers and fellow undergrads alike, skillfully multi-rolled by the male company. To a contemporary audience, the male elitism presented by these characters, declaring, “it’s in our blood” appears greatly shocking. However, as cast member Angus Godfrey noted in the post-show discussion, “while my characters are monstrous, at the time, they weren’t seen as horrible; they were the voice of reason”
The thoughtful and incredibly well observed performances created many tear-jerking moments. An unforgettable scene was between scholarship student Maeve and her brother (Macks O’Byrne), who desperately demands that Maeve return home after their mother’s death. This somberly reminds audiences that class was, and still remains, a barrier to accessing higher education, and that these barriers were perpetuated for women. Georgina Peters’ sensitive performance was heartbreaking to witness as Maeve unwillingly sacrificed her place as “Girton’s brightest student” leaving what had become “my home” to fulfil an unwanted yet inescapable fate of motherhood.
Another moment that deeply resonated with me was a duologue between Tess and Carolyn, as we witnessed Tess despair over the impossible choice between love and knowledge that women were, and still are, forced to make, a motif that ran poignantly through the play. She very nearly abandons her lifelong hunger to learn, fearing that never finding satisfaction in a simple and subservient life would render her unlovable. But, coaxed tenderly back to action by her stoic yet empathetic friend, the pair continually excel despite being used by self-righteous men.
The narrative of the Girton professors, (Pia Saunders-Patel, Jessica Faye, Hywel Scott) added interesting narrative complexity, as Scott’s character loses a fellowship at Trinity due to being associated with the Girtonites, while Mrs Welsh and Mrs Blake become foils despite striving for the same goal of gender equality, continually struggling to strike the balance between activism and the perennial need for women to hold their tongue in order to be accepted.
There were plenty of brilliant comedic moments woven into the narrative, portrayed notably well by James Ferriman, Arun Friers, Thomas Chapman, Robin Heywood, Baia Crockett and Miranda Barnes. The nuance of these performers represented the inventiveness and attention to detail of the company as a whole, striking an excellent balance between sombreness and humour.
However, more than this, Blue Stockings spurs us to oppose the still rife injustice of today, making me think of the young women around the world who still cannot access an education. Director Paul Simpson notes, “Jessica Swales’ text has created a rehearsal room full of conversation, debate, frustration and amazement”. Not only was this recognisable in the passionate and dedicated performances, but in the buzz of the audience afterwards- their debates and concerns had been passed to us. As a young woman in today’s education system, I will be entering university and interacting with the city of Oxford with a renewed sense of purpose after watching this show. This is certainly an ongoing fight, but as Tess voices, “we’ll carry on”.
The Young Company is one of the Playhouse’s greatest assets, as each performance is informed by members’ diverse and unique perspectives. Their work is unmissable and I have no doubt these performers will soon take the industry by storm.