Review: THE PRIME OF MISS JEAN BRODIE, Lyceum Theatre Edinburgh
Photo credit: Mihaela Bodlovic
The National Theatre of Scotland celebrates its 20th anniversary this year. As part of this celebratory season, company founder Vicky Featherstone directs this new production of David Harrower’s adaptation of The Prime of Miss Jean Brodie. Based on Muriel Spark’s 1961 novel, this story of a bold, outspoken, but dangerous schoolmistress has been rejuvenated, updated, and brought into sharp focus for the 21st century in this powerful new production.
1930s Edinburgh unfolds before us on a carpeted pink amphitheatre, giant steps transforming from Miss Brodie’s classroom to her home and beyond. Chloe Lamford’s set also incorporates tulle and chains, capturing Brodie’s charismatic exterior and the darkness that lurks beneath. Lewis den Hertog’s video design adds further juxtaposition, moving from classical Italian art to images of fascist rallies, while Lizzie Powell’s vibrant lighting and Pippa Murphy’s techno-infused music fill out Miss Brodie’s world ever further.
Anna Orton’s costumes are wonderfully evocative. Excluding Miss Brodie, the teachers are dressed as one would expect, in neutral suits and tweeds, while the girls’ uniforms become sheer and more mature as they move into senior school after the interval. Against this, Miss Brodie enters first in a fitted leather maxi skirt and acid-green blouse with hugely expansive bell-sleeves. Her clothing feels anachronistic, clashing with the Calvinist rigidity of the other staff, and provides an interesting insight into the mind of this ever-enigmatic woman.
As Miss Brodie’s girls, Liberty Black, Sophie Fortune, Tallulah Greive, Shreya Khaund Marshall, and Bobby Rainsbury are a formidable troupe, with Rainsbury’s Sandy Stranger in particular standing out as she moves from Brodie devotee to her downfall. Maureen Beattie is a sharp, prickly Miss Mackay, while Dyfan Dwyfor’s Teddy Lloyd has a sinister, predatory undertone to his apparent charm. Brian Ferguson gives Gordon Lowther a real pathos, as Miss Brodie cruelly plays with his unfettered devotion to her.
Miss Brodie has been portrayed by many great actresses throughout the years, including Maggie Smith on film in 1969, and here, Gayle Rankin proves herself ably among the best of them. Her Miss Brodie is all sharp edges, even when she’s seducing her girls into her way of thinking, and Rankin displays a masterclass in manipulation as Miss Brodie faces off against the other teachers and, later, the girls as they start to turn away from her. It’s not until the very end when we really see the vulnerability beneath this façade, and those final moments are truly heartbreaking as the bold, powerful Miss Brodie crumbles away.
**** Four stars
Reviewed by: Lorna Murray