Review: Poor Clare (Orange Tree Theatre)

Review by Rosie Holmes

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A retelling of the life of Saint Clare of Assisi comes to London as the whip-smart production of Chiara Atiki's Poor Clare opens at the Orange Tree Theatre in a bold and funny exploration of privilege, purpose, and radical change, told through a lens that’s as modern as it is medieval.

Poor Clare follows the story of Clare, a wealthy young noblewoman in 13th-century Assisi, whose life of privilege is upended when she encounters the radical teachings of Francis of Assisi. As her awareness grows, she makes the bold decision to renounce her wealth and embrace a life of poverty and service. Through sharp, modern dialogue and a historical setting, the play explores Clare’s transformation from a self-absorbed teenager into a fierce advocate for change, challenging societal norms, familial expectations, and her own comfort in pursuit of a more meaningful life.

We first meet Clare, played by Arsema Thomas mid -glam session, her ladies' maids styling her hair in elaborate fashions. Thomas, in her professional stage debut, is effortlessly funny, and utterly believable as a young woman torn between comfort and conviction. She brings a compelling mix of youthful confidence, vulnerability, and eventual conviction to the role. Her transformation is gradual and believable, and her chemistry with her sister Beatrice and teacher Francis of Assisi is delightful to watch. 

Carter’s Francis is thankfully no saintly caricature. Instead, he’s portrayed as a passionate, sometimes self-righteous reformer. Yet he is true to his beliefs and helps Clare to confront some very uncomfortable truths. Carter is charismatic and a little annoying all at once in his role, and plays into the convincing chemistry between him and Thomas.  Anushka Chakravarti is extremely funny as Clare’s younger and image-obsessed sister. She delivers Atik’s one-liners with skill and sass to ensure they get the laughter they deserve. In fact, scenes between Beatrice and Clare are definitely some of the most enjoyable to watch, as they bicker and gossip, as relatable as any modern-day siblings. 

Though it is set in 13th-century Italy, Poor Clare is spoken entirely in modern American vernacular,  juxtaposing historical narrative with contemporary sensibilities. The result is a play that feels both historic and urgently current. This is mostly due to a script that is peppered with laugh-out-loud one-liners and biting social commentary. However, there are moments when it feels a little laboured. The final monologue, in particular, brings us jarringly into the present day, with Clare reflecting on a homeless man in Sephora and the people she passes on the way to her apartment. It’s a powerful image, but one that feels slightly too on-the-nose. Atik’s writing is clever and layered enough that we’ve already drawn these parallels ourselves. The play doesn’t need to spell them out quite so literally.

Fabulous costume design by Eleanor Ball perfectly shows the transition from Clare’s image-obsessed life to one of renunciation. Yet, it’s the wig design by Chris Smyth that really takes centre stage in this play. Ornate and extravagant hairstyles are worn by the sisters, highlighting their wealth and commitment to their image. There is even hair styling live on stage and clever cutting of hair, which is essential to the play’s storyline. Direction by Blanche McIntyre is fast-paced, just like Atik’s dialogue, and uses the small and intimate space well - something that can often be tricky in the theatres in-the-round format. 

Poor Clare is a funny, and astute piece of theatre that works well because iof its unfortunately timeless themes. It asks the audience to think about social injustice and how we can better help people. Despite a few heavy-handed moments, it’s a smart and stirring production that lingers long after the final bow.

Poor Clare plays at Orange Tree Theatre until 9th August. Tickets from https://orangetreetheatre.co.uk/whats-on/poor-clare/

Photos by Ellie Kurttz