Who was Nell Gwynn? The woman who sold oranges to theatregoers, and perhaps more besides, who caught the eye of King Charles II and became his mistress.
It’s about as much any of us know of ‘pretty, witty Nell’, the commoner who won the affection of both King and country and emerged as the most celebrated stage actress of her day.
Jessica Swale drew on this 17th century soap opera to tell the extraordinary story of the implausible romance between the strumpet from Cheapside and the monarch during a volatile period of political and social history.
The original West End production of Nell Gwynn 10 years ago earned Swale an Olivier Award before she went on to write the book for Paddington: The Musical which premiered in the West End last year, also scooping an Olivier.
The new version is a collaboration between Theatre by the Lake, in Keswick, Shakespeare North Playhouse and Storyhouse Theatre, an ambitious and dynamic production that offers immersion in a rarely explored period centred on the Cavalier king, his court and his influence on the arts.
Swale weaves a multi-layered plot around the love story at its heart that peels away the back story to Charles’ return to England after he fled following the Civil War, the execution of his father and the abolition of the monarchy.
The play touches on the political turmoil, the role of women and the history of theatre itself, reminding us how lucky we are to live in a time when female writers and actors have a voice and productions like this – also directed by a woman, Bryony Shanahan – can be seen so readily.
While there is complex history, it is handled with a light touch and humour from the outset.
The usual instructions to the audience to turn off mobile phones before curtain up comes with a warning that any interruptions will see heads on spikes “or worse, theatre will be banned – again!”.
The story begins with the tribulations of a theatre company whose writer John Dryden (Jamie Ross) is struggling for ideas.
Now the King has decreed that women can be on the stage, they have competition too from another company whose buxom leading lady Moll Davies is pulling in audiences.
The increasingly despairing director Thomas Killigrew (Adam Clifford) and leading man Charles Hart (Elliot Harper) realise drastic action is needed.
When they encounter the feisty Nell Gwynn, portrayed with wit and playful spirit (no cockney caricature here) by Rose Shalloo, kindly and genuine Mr Hart spots her latent talent. He offers to coach her at evening classes, building on her natural performance skills honed over years of pretending to men.
It includes learning the language of the fan – who knew how many flirtatious messages can be spoken by where you point or how far you open a fan? The lesson in its etiquette is beautifully choreographed and clearly works as Nell and her teacher – her Charles the First – embark on an affair.
Not all are in favour of Nell’s arrival. Thespian Edward Kynaston (Stanton Wright) camps it up as he dreams of a sublime and sophisticated theatre – “no woman can play a woman as well as I can play a woman”. His comedy builds brilliantly, especially in a later production by the players when The Tempest morphs into Titanic.
He fears Nell will be the death of the company but eventually has to concede and she becomes their leading lady, blazing a trail for women on stage. “I don’t think we’ll ever go back, it changes everything,” says Dryden. Indeed, and thank goodness for that.
This feels like a very different show for Theatre by the Lake. Yes, it’s another excellent cast of multi-talented actor musicians and witty one-liners that always land well with TBTL audiences, but there is intricacy and elegance too and a story that leaves you thinking and wanting to learn more.
Staged in the round with some very smart blocking, it is one of the best productions I have seen for the whole cast playing to the whole audience; they are constantly on the move.
Heads turning for three-way conversations is another useful device, even extending into the Circle to provide the King with a balcony from which to watch the plays within a play. Although not a conventional musical, it is all enhanced with joyous gigs to Candida Caldicot’s memorable, original songs.
Nell’s talent is not just for acting and dance. Supported by her sister Rose (Celia Cruwys-Finnigan) and friend Nancy (Sufia Manya), she helps Dryden add fireworks to his new play The Maiden Queen. It is a hit, not least with King Charles II (Guy Woolf) who is immediately smitten with Nell.
The merry monarch was renowned for his hedonistic lifestyle, seeking the joy and gaiety of theatre and its “complete absence of complicated women”.
In his regular visits to Nell backstage, he connects with the woman who has come from nothing but whose authenticity he finds appealing, led by her pursuit of an honest answer to the question “Do you like being King?”. Their backgrounds could not be further apart, but they have trauma in common and true love blossoms.
His current beau Barbara, Lady Castlemain is hastily dispatched, and Nell moves into the palace as his mistress after some savvy negotiation, including all the finery costume designer Jess Curtis has the budget to create.
It includes luxuriant wigs whose expense meant some careful cost management by the production apparently. Luckily, they found the budget as they are magnificent and characters in their own right.
It’s quite a shock when the King removes his trademark locks in a touching out-of-court scene with Nell that reveals their true closeness and intimacy, completing the depth both Shalloo and Woolf find in their characters.
Politics rules, however, and Charles must accept the arrival of the objectionable Louise de Keroualle (Celia Cruwys-Finnigan) from France, prompting Nell to poke fun at her by sporting a giant hat on stage.
Nell has come a long way, far enough to understand her obligations so she refuses to meet the players’ last ditch bid for success by outing her centre stage as naked Lady Godiva. Rhymes with survivor, she points out to Dryden.
And Nell is a survivor. Despite her gin-soaked mother reminding her of her roots and how she taught her how to “sell, scrape and make your way”, Nell cannot go back. Even the vicious attack Lord Arlington orders on Rose can’t depose her – the King loves her and will keep her.
And now we know more about her, we love her too.
Nell Gwynn, at Theatre by the Lake until August 1.
