Review: The Prime of Miss Jean Brodie – Pitlochry Festival Theatre

This production of The Prime of Miss Jean Brodie has been highly anticipated. Presented in partnership with The Royal Lyceum Theatre Edinburgh and in association with Pitlochry Festival Theatre, this National Theatre of Scotland production was adapted from Muriel Spark’s novel by David Harrower and was directed by Vicky Featherstone.

First off is Chloe Lamford’s set design – basically a very large set of steps which filled the stage and were very effective at being everything needed as a backdrop, giving variable height and some space to hide or lurk.

But one thing is for sure, there are many parallels in this 1930s set story with our 2020s world: it really is a very timely adaptation.

Then there are the costumes, designed by Anna Orton. Odd is the best word I can think of to describe them and strangely eclectic. Brodie’s ‘girls’ appeared in short black floaty dresses with big white collars which were replaced later by almost identical outfits except they were see-through, once they had graduated to senior school. I really didn’t understand that. I think regulation gym slips and white shirts – much more demure – would be more 1930s. Maureen Beattie’s Miss Mackay had an oddly mis-matched outfit throughout, which looked like it had been gleaned from a charity shop. It didn’t match at all and was ill-fitting. Brian Ferguson’s Mr Lowther, the music teacher was dressed at least in what felt like the same era as Miss Mackay, but Dyfan Dwyfor’s Mr Lloyd looked far too modern by comparison. Yes, I know he was the tortured art teacher, but fashions change and he seemed out of time. And then, of course, Gayle Rankin’s Jean Brodie herself. I loved that she had an outrageous wardrobe but oh my I though she’d had a real wardrobe malfunction almost from the get-go, with her silky underwear showing at her midriff at the start and then looking like she’d forgotten to do up her skirt in the second half. Avante-garde is one thing, but I just found this distinctly odd.

But to the play itself. The adaptation doesn’t stick rigidly to Spark’s novel, but I didn’t mind the changes – the message still got through. And indeed there are many messages you might take from this tale, including the dangers of narcissism, the fascination and dangers of Fascism, ‘betrayal’ and, of course ‘the Prime’ of life or its illusion. Which of these is the most dangerous or devastating depends partly on your point of view and who does the suffering is a moot point too. But one thing is for sure, there are many parallels in this 1930s set story with our 2020s world: it really is a very timely adaptation.

The ‘girls’ – the ‘creme de la creme’ – were marvellous, very believable and their individual characters well-drawn. I loved Liberty Black’s Mary MacGregor, even though she had by far the least to say. Each of the girls otherwise had a lot to say and a big character to portray and I thought they did so particularly well. The development of their characters as they grew older and more under Miss Brodie’s influence was very well played too. Ferguson and Dwyfor as the two male teachers, both in love with Miss Brodie, were believable in their very different guises, though Dwyfor’s anguish came over more clearly in the telling – by others – than in his own portrayal. Ferguson’s Lowther was touching, funny and a bit sad all at the same time. Maureen Beattie’s Miss Mackay was all mealy-mouthed and old-fashioned, giving a great stick with which Miss Brodie could beat her mercilessly. How much would we all love a teacher whose modernism flies in the face of the boring hierarchy? No wonder her girls loved Miss Brodie’s anarchy.

Her seduction of them is all the more insidious for being platonic.

And so to Gayle Rankin’s Miss Jean Brodie. Costumes apart, I thought she was excellent. She changed pitch and tempo so realistically I almost thought she was going to send ME into detention – not that I think Jean Brodie would approve of that approach actually! She purred and cajoled and loved her girls just a bit too much and yet could jump down their throats when they offended. She brooked no argument but was that wolf in sheep’s clothing that is so very dangerous. Killing with kindness and yet giving no quarter. Very seductive. And so I suppose maybe that explains the satin corset showing under her flamboyant clothes. Despite her affair with Lowther, however, this Jean Brodie was about as far away from sexually seductive as imaginable. And rightly so. There is no suggestion of untoward behaviour or intent of that sort towards her girls here. Her seduction of them is the more insidious for being platonic. And right up to the end she is totally self-absorbed and unable to see or acknowledge the consequences of her actions. A true narcissist.

It’s a long show – three hours, including interval – but it didn’t drag at all. I found myself immersed in the story and captivated by the characters and can recommend this The Prime of Miss Jean Brodie highly.