Writer and Director: Jen Tucker
The Nine-Day Queen is a unique new piece of theatre examining the bond that women throughout history experienced and will experience to come. Fear unites them, through time and social class. It is ongoing and through the most unlikely strangers, there is connection through this plight.
The play displays this by portraying Rita, a fifteen-year-old girl who is sitting at the bedside of her best friend Lena, as she waits anxiously for her to awaken from a coma, which she was violently induced into by an attack by a boy. While she spends countless nights hoping, she is visited by Lady Jane Grey. It is hard to distinguish what correlation the short reigning queen, who was consequently beheaded, could have with a modern-day teenage girl. However, this play takes us on a journey that transcends time periods and instead allows us to explore what the two young ladies share.
The setting of the Baron’s Court theatre is almost eerie, with its darkened walls completely blacked out from the light of day. This makes it more impressive with the lighting design by Beth Scott. We are seamlessly able to transition between life outside and life confined within the hospital ward. Equally, the soundtrack choice fits the playlist of an angsty teenager, showing we are within Rita’s world.
From beginning to end, we are confronted with the emotionality and trials of transitioning from girlhood to womanhood, with nowhere to go in between. The beautiful saving grace that young Rita (Maddie White) finds in a world she cannot understand is her best friend, Lena (Moya Matthews). This makes it even more devastating when she is nearly ripped from her grasp.
The power of female friendship shines brightly throughout the play and the love that they share. We can easily see how their lives entwine with one another so much so that losing Lena feels to Rita as though losing part of herself.
The dynamics between the apparition of Lady Jane Grey (Samantha Allison) and Rita, are emotional yet often lighthearted, allowing a flow between scenes, and not causing the play to stand still as we are confronted with heavy ideals. The fine line that Lena threads between life and death is exemplified by Lady Jane Grey, who is long deceased yet appears to Rita as though the rules of demise can be bent at will.
They find the commonality of fearing what their faith may be throughout life and how easily they hang in the balance based on the whim of men. This unlikely pairing allows us to view the experience of women from unique perspectives, and yet the connection is clear. Lady Jane Grey is there to teach Rita acceptance of life, but not to become compliant.
While the play ignites fury at the wrongdoing upon women, both in Lady Jane Grey’s time and in Rita’s, it implores us not to bear the anger of all women who came before us. Simply to handle our own and let it fuel us. This play appears to be a product of using that fuel for good.
Runs until 19 May 2024
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