Conor Quinn’s interpretation of Mark Ravenhill’s 2001 ‘Mother Clap’s Molly House’ offered interesting explorations of gender, sex, and play. Set in London the 18th and 21st century, Ravenhill’s play is largely inspired by Margaret Clap’s real ‘Molly House’ (a house where queer men could come and explore their sexuality safely). The two-and-a-half-hour play occurs both in the 1700s ‘Molly House’ and in an orgy house in 2001. The set was impressive, with immense fabrics draping either side of the stage, allowing the viewer to situate themselves temporally. The lights and overall production shone during the dancing musical numbers that punctuated the play and conferred dynamism and rhythm. Notable was Chelsea Laurik’s divine voice. In terms of body work, Sebastian Elder’s role as Orme was bemusing, acrobatic, and unafraid to work some extremely suggestive scenes. Olivia Martin as Mrs Tull was stellar, consistent, strong and complex while remaining humorous. Amiran Andatze’s performance as Philipps and his tackling of sexual violence were challenging yet well-rendered, whilst Benny Harrison embodied gauche and timid queerness perfectly. Leo Odger’s Lawrence was chilling yet humorous. Stupefying were Carmen Harkness’s and Nhi Tran’s costumes, from beautiful corsets and gowns to skimpy BDSM outfits.
However, though the play interacts with subjects such as graphic abortions, sexual violence and simulated sexual intercourse, the shock-factor was sometimes flat. If Ravenhill was aiming to decry the commodification of sex in our modern societies, Tina’s plotline as a piercing-addicted fiend felt at times unnecessary, detracting from the more important and heavy messages of the second act, which becomes weaker than the first one.
Ultimately, ‘Mother Clap’s Molly House’ was a superb and challenging play with beautiful expressions of queer joy, and denunciations of sexual malpractice. With a strong cast that worked well as an ensemble, and wonderful production team costumes, it is a must-watch that is not for the faint-hearted: an incredible student production from the likes that we rarely see.
Image by Andrew Perry provided via Bedlam Theatre Press Release