“The Stepmother” by Githa Sowerby
Nottingham Lace Market Theatre

Sowerby is best known for penning the novel, Rutherford and Son. In this play we first meet her heroine, Lois, when she is a 19-year-old who has inherited a small fortune from an elderly companion.

Ten years down the line we discover Lois is married to her benefactor’s brother, Eustace, who is chiefly interested in her money. By now, aside from being stepmother to Eustace’s teenage daughters, Lois is supporting the family by running her own fashion business.

When, however, Lois demands the return of her original capital to finance a dowry for one of her stepdaughters, she is confronted by the depths of Eustace’s chicanery and by her own legal powerlessness.

Abused and exploited by her husband, Lois had briefly sought consolation in the arms of an adoring neighbour, Peter Holland. Eustace shamelessly exploits this fact and suggests that his wife’s extramarital fling far outweighs, in the moral scheme of things, his own financial misdemeanours.

Grace Eden (Lois Reph) goes from a weepy 19 year old to the confident 29 year old business woman expressing her independence, something that, in the days of the 1920's was practically unheard of. A wonderful array of emotions with this role; a role that Grace looked so comfortable with; a role that had me hooked on her every word.

Likewise with Robert Goll (Eustace Gaydon). I've seen Rob play many roles over the years from panto to Shakespeare and he never fails to incite emotive reactions from the audience. This role sees Rob as a sneaky, greedy, manipulative egotist, and I hate to say that he plays it so well, but he does and of course, this is down to his extensive acting talents, because a nicer man you would be hard pushed to find.

The elderly lady I sat behind didn't hold back about her thoughts about Eustace, and I love that Rob can make the audience member feel this way, because it shows that they have bought into the character, and you need to make the audience believe the character to evoke that sort of reaction.

The relationship between these two leads was completely believable, and was like sitting in on a masterclass of acting. I always feel comfortable watching these two work because I know just how good they are when on stage.

Amanda Hodgson (Charlotte Gaydon) plays Eustace, and the late Fanny's Aunt. Only a small part but a lovely cameo.

Olivia Taylor (Betty Gaydon) and Emily Shillan (Monica Gaydon) again made for a natural pairing as the two sisters. Monica being the more confident and grown up, but Charlotte, in Act Two really came into her own when she confronted Eustace.

Marie Gibbons (Mary) was the oft put upon maid who was close to Charlotte, as we saw at the start of the play.

Matthew Clapp (Peter Holland) really made me change my initial thought of this character, because to start with he seemed to be a really nice bloke, but as the story unravelled, you came to realise that he was not quite the "nice bloke" he was first portrayed. Loved the fiery interplay between Holland and Eustace in Act Two. Almost like two gazelles locking horns, but without the physical aggression.

Rupert Butt (Mr Bennett), again a minor role but vital to the plot, and again showing just how controlling the male of the species of this era could be.

Ciaran Stones (Cyril Bennett) was just made for this role. I've not seen Ciaran on stage for a while, so it was nice to see him tread the boards again. He has matured in every way since the last thing I'd seen him in, and this play highlighted that maturity. Ciaran's voice and facial expressions as Bennett junior fitted so well with the part, it was if it had been written for him. Nice to have you back!

Linda Croston (Mrs Geddes) brought a lovely Scottish brogue to the play, and you all know I love a well executed accent. Again, only a minor part, but was nice to see another person backing Lois.

And last but not least,Arnd Korn (Holland’s Servant) completes the cast. Only a small part but it gave an incite as to the "downstairs" staff as we spotted him listening in on the "private" conversations of his master.

Directed by Cynthia Marsh, she got the cast spot on for all the parts, and even though nothing was rushed, the time flew by for me, mainly because I was so engrossed in the characters and what was going to happen next with them.

The set was designed by Rose Dudley, and this is the first thing that hits you when you enter the auditorium. It transported you back to what would have been a typical middle/upper class home with some lovely stained glass windows as the main feature of the set.

Looking at the set as well, i must congratulate Hannah Marshall for props that have been sourced for this production.

You can only imagine that the clothes would be as gorgeous as they are, and the wardrobe department produced some beautiful flowing costumes for the ladies and some wonderful suits for the men. The wigs were also fabulous. Jane Herring and Linda Croston are the costume connoisseurs here.

Lighting Design by Hugh Philip with Sound Design by Matthew Allcock and an evocative video backdrop by Mark James really created the atmospheric feel to the play.

If there had been soap operas in the 1920's then this is what it would have looked like as a pilot show because there were cliff hangers strewn throughout this play. I could almost hear the Eastenders "dum dum dum dum dum dud dud dum" in my head at the close of Act One.

Yet another wonderful cast and another educative visit to the theatre for me with one hell of a great story written about one very strong and determined woman, by a very strong and determined woman.

“The Stepmother” is at the Nottingham Lace Market Theatre until Saturday 1 June.