Fancy a trip to the “place of love” to witness a historical beauty pageant show? No we’re not talking about Paris, but Southend-on-Sea. Princess Essex (directed by Robin Belfield and written by Anne Odeke) tells the tale of not only the country’s first beauty pageant competition but the first time a woman of colour is being platformed on a stage, in the coastal spot of all places.
Princess Essex pushes you back in time to 1908 to when Princess Dinubolu of Senegal (played by Odeke) first touches down on Southend’s stormy seafront to take part in the pageant. Except Princess Dinubolu of Senegal doesn’t exist: and we end up navigating this lie whilst also trying to prepare for the “Princess’s” shining moment. Princess Essex is funny, it’s emotional, it’s cheesy and it’s heroic.
It feels fitting to have the multi-talented Odeke’s debut play brave the stage of Shakespeare’s Globe. Witnessing history played out in an open air space also steeped in history feels magical and adds another dimension to the play. The riverside venue itself is absolutely gorgeous: just as beauty pageants are a felicitous gem of seaside pier culture.
An impressive ensemble cast clearly put their all into putting on a good show – but at what cost? At times it feels clunky, especially when multi-roling means character identities are blurring into each other. There isn’t any real cohesion for the characters and their relationships with one another, aside from Joanna (Odeke) and Batwa (Alison Halstead). There are moments on stage that feel purely superficial, because not enough momentum has been established between the characters and their relationships.
The play brings to the surface interesting themes such as the Women’s Suffrage Movement, and class struggles. Race underpins Princess Essex and is the common line of thread throughout the piece. It’s done well, the audience with their gasps and groans help to reiterate some of the scripts horrific implications. But it’s very PG, almost Disney-fied, at times: as if trying to sugarcoat and protect the audience. It works to an extent: this isn’t a play about the horrors of racism and colonialism in the UK. It is in part a celebration of femininity and all that encompasses, of womanhood and the pursuit of beauty. Nevertheless, slicing the show with the realities of being a woman of colour in 1908 Britain would give the play a sharper edge.
The stars of the show are without a shadow of doubt Odeke and the wonderful Halstead (who plays Batwa/Councillor Reginald). They are both phenomenal and a real delight on stage. There is something incredibly satisfying with Odeke’s strong Essex drawl coupled with how she moves on stage, and Halstead is just enchanting. There is a moment at the end when we are introduced to the character of Eve (played by Janai Bartlett and Kyla Semper) and she is nothing short of charming.
The set design is cleverly executed and the wigs and hair (designed by Gilly Church) add to the play’s humour. The infamous Kursaal sign remains on stage throughout, adding to the excitement of feeling like you’re about to watch a show at Southend Pier.
Princess Essex is fun, it doesn’t feel too weighty and you’re left on a high.
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London
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