The most heightened moments of the piece feel as though they could be happening between real family members
What did the great women of the past pass on to their daughters, more than appearance? In Mary Wollstonecraft’s case, it is intelligence, rebelliousness, and a penchant for poetic (read: flighty) men. Indeed, as Mary’s Daughters acknowledges very early into its runtime, we all know Mary Shelley – author of Frankenstein and mother of science fiction. Less of us may know of the woman who birthed her, and even less of her half-sister, Fanny Imlay. But by the end, we are sure to know of them – of their struggles, their passions, and, ultimately, their legacy.
The play takes place at The Space, a converted 19th-century church, which lends itself well to this kind of story – that is, ‘a feminist ghost story’. Marysia Bucholc’s set is minimal, but functional – the combination of thrust staging, and the blocking which has the company frequently step in to the audience’s space means we feel truly involved in the story. Robert Moutrey’s sound design toes the line between eerie and atmospheric well, and Charli Hurford’s lighting design keeps up with the ever-changing tone of the story.
The script is quick and funny, despite it recounting what is, ultimately, a tragic tale. Kaya Bucholc and Will Wallace’s writing is packed with description – it flits between verbatim quotes pulled from history and modern asides to the audience. One choice moment has Fanny attempt to describe her father, Gilbert Imlay, in some colourful language – only for her mother to interrupt and instead label him a ‘cad.’ Bucholc shows her acting chops as well as her writing chops as Fanny – her ability to find comedy in Fanny’s story means her more emotional moments are even more impressive. I was struck to find that, following the emotional climax of the piece, Bucholc had real tears running down her face.
The other two members of the company have their strengths, too – Megan Carter moves lithely during the more choreographed elements of the piece and is at her best when passionately recounting Wollstonecraft’s ill-fated trip to Scandinavia. Rachael Reshma, as Mary Shelley, shines in her comedic multi-roling, but handles the difficult dynamic between the two sisters, and indeed the legacy of her character, with great sensitivity. The three of them bounce very well of each other, and they handle what is a very complicated dynamic with ease. Kay Brattan’s direction ensure that the most heightened moments of the piece feel as though they could be happening between real family members.
The modernity of the piece, at some points, does let it down. There were times where I wondered if the script was veering on being a tad too revisionist, and I felt some scenes laboured the point a little – while it may have been true that Mary Wollstonecraft lived a life of mostly heartbreak and desperation, I’m not sure quite so many monologues needed to be dedicated to expressing that. Additionally, while the actors make easy work of the emotionally charged arguments regarding grief and betrayal, they caused the piece to drag at some points.
Overall, the piece is clever, touching, and beautifully presented. While marketed as a ‘feminist ghost story’, it is not frightening – indeed, we can feel the ghost of Mary Wollstonecraft’s feminism running through it.