Mother Clap's Molly House

In the late 18th century a reasonable living was to be earned hiring out fancy dresses to prostitutes on a daily basis. For 3d a day a 'working girl' could be a shepherdess or some such fantasy figure to ring the changes with her punters. For Mrs Tull working beside her husband taking care of the mending and making of frocks was an existence not even mollified by a loving relationship. The physical side of her marriage had ended years before so when her beloved Stephen keeled over with the pox, passed on by one of the girls they supplied, she was only really worried by how to run the business. It soon became apparent that she wasn't tough enough to stop the hookers taking advantage and when an unlikely source of business came along, she grasped it with both hands. And so was born the Molly House, a safe environment for the gay transvestites to dress up and party.
This rambunctious romp, couched in the coarsest of language as befits the working classes of 1726, has humour and pathos galore. The first half sets up the premis of Mother Clap, her problems and her salvation whilst the second half introduces a modern parallel universe where, supposedly, things for gays have improved. In both time zones it is obvious that often love has been sacrificed for meaningless sex. Nothing much has changed in nearly 300 years and the doubling of roles over the centuries helps the allegory of the 18th century being reflected in modern London
This production is a result of the very strong links that have been forged between Leicester's Curve and DeMontfort University which allows drama students to experience their learned craft in a professional theatre before a paying audience. An obviously very talented cast of actors, singers and dancers bring this tale to life on the Studio's brilliantly designed set. Special mention has to go to Victoria Tull, mature beyond her years, Alan Foster, a fine comic actor in the making, and Adam Gough. Although it is unfair to pick out any of the cast as they all performed beyond expectations.
Mark Ravenhill's 2001 play with music soundtrack has been given a glam rock makeover for this evening of debauchery, adult language and sexual ambiguity.

First published in Western Gazette 
© Paul Towers 14/3/2014