REVIEW: JOE CARSTAIRS, Part of Omnibus Theatre’s 96 Festival 4 – 22 June 2024

‘The directors find ingenious and entertaining ways to merge two stories into one coherent piece’ ★★★

Joe Carstairs is one play with two stories. Two stories with one connecting theme and a connection which is shown to have many different trials and tribulations depending what side of the street you were born on. Joe Carstairs, born Marion Barbara Carstairs in 1900 (played by Rhiannon Bell). They volunteered as an ambulance driver in World War One then spent the rest of their life using their wealth and privilege to mix with the rich and famous and become the world’s greatest speedboat racer.

100 years later Hik, (played by Sarah Carvalho) on the other hand came from more humble origins. They struggled with today’s housing situation and battled their way through a ruthless and unforgiving entertainments industry to finally find success writing plays.

The two main characters of the play are lesbians. One, because of her social class, appears in the play to be more willing to openly show this. It suggests that in the decades following Oscar Wilde’s famous gross indecency trial and conviction in 1895, homosexuality was almost fashionable in some circles. Joe Carstairs brags of their affairs with Tallulah Bankhead and others (did the writers include Marlene Dietrich?), to their friend the socialite Dolly Wilde, Oscar Wilde’s niece. 

The play clearly shows how Hik is reluctant to admit such a thing or show their true self because of constant self doubt and the persecution they experiences from other people. We are led to expect, in their move to Bristol towards the end of the play that there is also a very real threat of violent assault because of who Hik is.

While Hik strives to write the positive role model story of Joe, this play cleverly shows that in spite of their similarities and the problems society still has with this after 100 years, the difference in social status clearly allows the more privileged of the two the freedom to express theirself more openly and with less danger. Franko Figueiredo and Krysia Mansfield have for the most part written a good play. It jumps deftly to and fro between the two stories with some actors flipping between roles mid conversation. However, there were times when the confusion of labels and pronouns were prominent. The way the characters dealt with it made me feel that my own slight confusion was comical and all part of the message the writers were trying to convey. Perhaps, from Krysia’s delivery of many of the lines, this was meant to be. Whichever was the case the audience consistently appreciated her comedic expression.

Sarah Carvalho’s portrayal of Hik was sensitive and stood out as did Jazz Harbour’s depiction of Dorothy “Dolly” Wilde and Hik’s friend Tee. The star of the show was certainly Rhiannon Bell who gave a flamboyant depiction of Joe. Catherine Warnock showed great versatility by playing the parts of Tee’s mother and Joe’s secretary.

The play dealt with many issues; parents and children, society accepting variation from social norms, sexual relationships, housing, homelessness, gender, workplace roles, promiscuity, violence, war, sexual violence and assault. But the bottom line has to be that whoever you are and whatever might happen to you in life, you are better off and in a better place to deal with it all if you start out by being rich.

A final word must go to the directors who came up with ingenious and entertaining ways to merge the two stories into one coherent piece.  The movement and use of live music were at times brilliant. Generally, though, the play did seem to drag a bit in the second half which was a shame, considering how vibrant the first half felt.

JOE CARSTAIRS, Part of Omnibus Theatre’s 96 Festival

Omnibus Theatre

4 – 22 June 2024

Box Office https://www.omnibus-clapham.org/joe-carstairs/

Written by Franko Figueiredo and Krysia Mansfield

Directed by Robyn Lexi and Selwin Hulme-Teague

A Stone Crabs Theatre Production

Reviewed by Robert McLanachan