Age of Arousal

Feminism. It's a buzz word that, in today’s society, stands without a solid definition.

To some, the word is a relic; a reminder of past times of almost unthinkable prejudices towards more than half the population. To others, the word conjures up political ideology; a reminder that the road to equality is a long one.

Calling Age of Arousal a ‘feminist’ play does it a disservice. The story, set in 1885, centres on a suffragette who teaches women the power of individuality, but the play actually contains many threads, all of them equally interesting.

Linda Griffiths’s script is a rich piece of writing full of wit and insight. Her six characters are all fully defined individuals filled with interesting things to say, and the plot, though sometimes a bit too predictable, moves at a brisk pace. It's a play that might have a grounding in anger but is told with warmth and good humour.

Director Muriel Romanes has managed to weave a production that is both beautiful and involving. Set pieces whish around the stage and projected titles give the play a more literary feel, while clever lighting and sound effects easily transport the audience from scene to scene.

Romanes is assisted by a solid ensemble who have created interesting and sympathetic characters. Hannah Donaldson, Molly Innes and Alexandra Mathie are great as three sisters doing what they can to improve their lot in life while Clare Lawrence Moody and Jamie Lee make for convincing characters that are at loggerheads with themselves and each other. But the real standout is Ann Louise Ross. Her character, Mary Barfoot, is a fascinating tour de force, a highly intelligent character filled with anger and compassion that holds the characters, and the play, together.

In the wrong hands, Age of Arousal could have been a boring political discourse. Instead, it is a vibrant production filled with emotion, intelligence and passion with a touch of the sensual.