8 Women

Living in a house full of women can be deadly, or it can be quite funny. 8 Women is set in the 1950’s, in the middle of winter, in an isolated mansion in the French countryside. A family gathers together to celebrate the holiday season only to find that their beloved patriarch Marcel, has been murdered. Eight women, each with a secret, each a suspect! All have a motive but only one of them can be guilty. Cut off from the outside world, the women are forced to unravel the truth from a web of family secrets and accusations.

The French drawing room style play/murder mystery 8 Women, written by Robert Thomas, has been made into a movie. The screenplay, written in 2002, was not very close to the original play script. As no known English translation exists,director Peter Wilson asked colleague Barbara Royston to translate from the French for the world premiere seven years ago.

The comedic theme is introduced immediately with the use of surtitles in English translation as the cast speaks in French. After a few minutes of French dialogue, the cast then switches to speaking in English, with French surtitles, which are removed after the theme is established. This cute directorial ploy sets the scene for a mixture of accents. Some of the cast, notably Ann Lennon George (Aunt Augustine), use the ploy to great effect, in the stylised, hammy role of the neurotic sister-in-law of victim Marcel, the patriarch we never get to see.

The cast brilliantly utilise the beautifully made and complicated two level set for multiple comings and goings. First night nerves and hesitancy of delivery slowed the pace, but I hear that these problems were rectified for remainder of the season. Once again, it is hard to single out individuals for praise in an ensemble production.

The experience of performers Megan Brockie (Pierete), young Jessica Davies (Suzon), Judy McDavitt (Mamy), Kath Uziallo (Madame Chanel), Jess Lewis Shaw (Catherine), Ann Lennon George (Aunt Augustine) and Melanie Brown (Gaby) was apparent. Newcomer Melanie Holt (Louise the maid) showed promise. The lovely set was complemented by the stylish costumes.

As a footnote, Peter Wilson states his gratitude for the translation by Barbara Royston, but stands firm with an agreement with the French publishers (despite numerous requests), that obliges them to refuse request for copies.

Yet again, Hobart Repertory Theatre Society presented another excellent evening of entertainment.

Merlene Abbott

Photos courtesy of John King Smith