Review: PRINCESS ESSEX, Shakespeare's Globe

“Oh, I do like to be beside the seaside…” Anne Odeke’s play about the first woman of colour to enter a beauty pageant in the UK is a celebration of a bit of Essex’s history that has previously flown under the radar, as well as an interrogation of the effect of empire and patriarchy on the individual. That may sound heavy, but there is a deftness of touch that ensures the production is entertaining as well as thought-provoking.

Housemaid Joanna lives a relatively quiet life - for a mixed race woman in Edwardian England - but after watching “The Great Batwa” stage show at the Kursaal (Southend’s pride and joy), she is forced to confront some uncomfortable truths. Frustrated at her mistress’s unwillingness to understand her, she attempts to enter Folkestone’s international beauty pageant - only to be laughed and racially abused out of town. This doesn’t deter her, however, as she decides to invent a new persona in order to enter Southend’s forthcoming pageant: Princess Dinubolu of Senegal is born.

Although some records of this African princess exist, there is frustratingly little detail - to the extent that it can’t be confirmed whether or not she was genuine royalty. Odeke’s decision to have Joanna become Princess Dinubolu is a canny one; as well as allowing us to get to know the character from the very beginning of the play, it also gives an insight into what it must be like to navigate life in modern-day Britain as a person of colour (whether as an immigrant or several generations down the line).

The setup of the Globe Theatre is ideal for the kind of show that Odeke and director Robin Belfield have decided to put on. Hayley Grindle’s design brings together the Globe’s wooden aesthetic and classic Edwardian seaside style, and even pays homage to the longest pleasure pier in the world with a projection out into the yard. The costumes are also fantastic, with stripes and high necklines aplenty - as well as some slightly more risqué outfits.

This end-of-the-pier feel extends to aspects of the narrative, such as the appearance of King Edward VII in the most memorable monarch manifestation since Hamilton’s King George III. John Cummins plays the role with aplomb, bringing “Dirty Bertie” to vivid life with the help of his courtiers - and a bit of song and dance.

Another reason for staging this very Southend show on the south bank of the Thames in the Globe is the unique audience setup. Standing as a groundling in the yard gives you opportunities to interact and react to the performance in a way that you probably couldn’t in a fully seated theatre, and these instances really add to the atmosphere for everyone in that performance space; gasps, scandalised giggles, and shouts of “no!” help the production to become a living, breathing thing.

Running at approximately two hours and forty minutes, it is probably a touch too long; at times it just feels as if there are one or two ideas too many, and some scenes take a bit too long to get to the point. A little trimming and refining is required to make clear exactly what it wants to say, especially if any future runs are being planned or hoped for.

Matthew Ashforde is brilliant as the put-upon Kursaal manager Mr Bacon, going to ever more extreme lengths to try and keep the place open - both to appease his creditors and to avoid embarrassment at the hands of (sort-of) local rivals Folkestone. Eloise Secker puts in some scene-stealing work as Mayor Ingram’s spoilt daughter (and pageant hopeful) Violet, with terrific comic delivery and hilarious facial expressions.

Anne Odeke is a force of nature, proving once again how incredibly funny she is (at times she just needs to raise an eyebrow to have the audience in hysterics), but also how moving she can be; there are several affecting moments where Joanna has cause for reflection, and you can feel just how much Odeke means these words. A note also on Janai Bartlett (on as Eve for the press performance), who is exactly the bundle of energy that Odeke’s Joanna needs when they meet - her cameo is more than enough to put the smile back on everyone’s face.

Although in need of a bit of polishing, this is another fine example of why Shakespeare’s Globe needs to continue to pursue new writing projects; amidst another largely uninspiring summer programme, this title stood out from the get-go, and has proven itself to be another fresh hit. A delightful and educational piece of theatre that deserves to be seen by audiences everywhere.

Princess Essex runs at Shakespeare’s Globe until 26 October

Photo credit: Johan Persson

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