Right on time, celebrating the anniversary of Edith Cavell’s death, came Martin Mulgrew’s play Edith & Margueritte at the “Proud Archivist” pub in Hackney.

Originally submitted for the Tower’s WW1 play-writing competition, the present production, directed by Sara Randall, has been slimmed down to 4 players : Edith Cavell, the English nurse who so bravely faced German troops, barring their way to wounded soldiers (well, that’s how I learnt it at school,) and her interrogator, Lieutenant Bergen; and their opposites : Margueritte Zelle (better known as Mata Hari) trying to cope with icy Captain Bouchardon – or Ian Recordon.

In recent years, I have read that Edith Cavell did in fact, spy for the British, but be that as it may, it is as a nurse she is remembered. Mata Hari, of Dutch origin, most certainly spied for the French, amongst others. With a mixed background of chanteuse, dancer, or prostitute, she certainly tried to flirt and seduce her way out of trouble, finally with a singular lack of success. Both women were executed by firing squad.

The action – or lack of it – was presented on a split stage, making the best use of a tiny space. Fiona Monks as Mata Hari had a hard job, trying to convince both the audience and the Captain of her (military) innocence. Not easy, trying to play Carmen when her inquisitor resolutely refuses to be Don Jose. Their relationship remained distant : the one showing disgust and disbelief, the other trying to provoke some reaction. This was in contrast with Edith and her young officer. Helen McCormack was a tight lipped, buttoned up, righteous woman who, nevertheless, managed to form some sort accord with the very junior Lieutenant, played by (new to me) Ben Belbin. Their discussions, straying away from spying into philosophy, finally provoked a moving scene in which Ben was surreptitiously wiping away a tear. All four players were believable and looked the part (well done, wardrobe).

The play itself would be best presented as a radio play. It was well written and convincing, which does not surprise me, coming from the author of Entertaining Mr. Orton.
I understand it had already been presented as a Tower Club evening play, which unfortunately, I was unable to see.
Nevertheless, it would be suitable for small theatres if, perhaps, it could be opened out a bit and other characters brought in. All the same, well done to director and all crew for an interesting evening.

I was a little less happy with the venue. Not overly difficult to find, and side street parking after 6.30 had to be sought but could be found, with the tube not far away. I dislike having chairs on a flat floor. Shorties like me can never see anything. I believe that the venue was free of charge, so there are winners and losers, as always. Still, a proper theatrical venue with raked seating remains a high priority for me, hopefully, in the next Tower Lite production.