Review: THE SISTERHOOD, Belgrade Theatre Coventry, February 2 2016

Based on Molière's Les Femmes Savantes, The Sisterhood is currently playing at the Belgrade Theatre, Coventry. The production is directed by their Artistic Director Hamish Glen and has been relocated in time from the late 1600s to the 1980s; visually a complete contradiction but relevant based on theme.

The story, set against a French backdrop, surrounds a wealthy family whereby daughter Henriette wants to marry the penniless Clitandre but her mother Philaminte wants her to marry artist Trissotin. Henriette's father Chrysale never usually stands up to his wife but in this instance, he sides with his daughter in her choice of husband.

Glen's choice of era for this production is an interesting one, and on face value is either brilliant or ridiculous. After seeing the show, I'm still undecided, if I'm completely honest, but the soundtrack of 1987 interlinking the scenes is incredibly enjoyable. Ranjit Bolt adapted the play into English in this year during another major feminist movement so there are parallels that can be drawn. The dialogue is delivered with superb phrasing by the ten-strong company but does seem somewhat dated and elitist; perhaps expected in the 17th century but this element in the 80s doesn't seem a great fit. Moliere's writing is very witty but more laughs could be found within the text in my opinion.

Libby Watson's grand set design is split across two levels with books from floor to ceiling; thus reflecting the high level of intellect that the majority of the family hold in high regard. Predominantly white in tone, the 80s costumes inject all of the colour required alongside Mike Robertson's lighting design. The scene changes, accompanied by some classic 80's tunes, are very bright and colourful; breaking up the heavy text.

Matriarch Philaminte is played brilliantly by Julia Watson; a strong, tough woman and a force to be reckoned with. Her character is counterbalanced well by Peter Temple as her dithering husband Chrysale. Paul Trussell is the wonderfully eccentric suitor and 'genius' Trissotin and wholly embraces the tricky dialogue. Light relief comes in the form of housemaid Martine (Miriam Edwards) who uses a Brummie accent against the overwhelming use of RP by the rest of the cast.

Witty in the most part and well executed by the performers.

The Sisterhood plays at the Belgrade Theatre, Coventry until 20th February 2016.

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