Review: Ragdoll (Jermyn Street Theatre)

Review by Daz Gale

⭐️⭐️⭐️

Katherine Moar’s debut play Farm Hall has the honour of being the best-selling show in the history of Jermyn Street Theatre, transferring from the intimate 70-seat venue to the much grander Theatre Royal Haymarket just a stone’s throw away, so it feels fitting that she has returned to the scene of the crime for the premiere of her second play, Ragdoll. Would lightning strike twice for this exciting new writer?

Inspired by the trial of Patty Hearst, Ragdoll sets itself in two separate timelines, focusing on two characters played by four actors. In 1978, a young heiress named Holly is awaiting trial for her role in a string of armed robberies, with hotshot (and very expensive) lawyer Robert hoping to clear her name, while boosting his own profile and career at the same time. In 2017, the pair reconnect in very different circumstances. With his glory days behind him, Robert is now the one trying to clear his name, and he enlists the help of his former client, Holly, in an attempt to do so. But with unfinished business from nearly 40 years earlier, will she be willing to put water under the bridge and will they be able to move forward with their now very different lives?

It is an intriguing premise, and one that has no shortage of premise. Katherine Moar’s writing offers moments of brilliance, teasing two very differing dynamics and allowing us to draw parallels between both Holly and Robert’s younger and older selves, and attempt to put the pieces together ourselves. The problem is that these moments don’t always land, with an uneven nature and some rather clunky dialogue never quite allowing these moments to reach this clear potential. Moar’s talent is clear to see, and there are moments where Ragdoll truly shines, but similarly, there are other moments that fizzle out instead of soaring as it should.

I wouldn’t want to spoil anything that happens throughout the course of this rather snappy 75 minute play, but there is a drastic shift in the narrative near the show’s climax that changes everything. It is a certainly unexpected development that made me sit up and take notice, but I also found it rather jarring. Changing the rules of the world we have grown accustomed to may be a novel approach, but I can’t say it was handled as seamlessly as I would have liked, and question what this surprising touch added to the story. It felt like Ragdoll was two different plays stitched together, with the final 20 minutes a different type of show altogether. For me, this meant the final part of the play was less cohesive than I would have liked, never matching the peak the premise promised at its most captivating.

Josh Seymour’s direction makes great use of the small but mighty space at Jermyn Street Theatre, filling an already cramped stage with an oversized (but vital) couch. The dynamics between both the younger and older characters elevate the story significantly, though some of the transitions between scenes could use with being a bit tighter, slightly losing the momentum and again feeling jarring at times.

The biggest strength in Ragdoll is its fantastic cast. Nathaniel Parker delivers a strong performance as the older Robert, beautifully embodying somebody who has seen some real highs during his time, but is paying the price for it now. Though he offers a more understated and calm approach to his character, there is a sense of a weight of responsibility as he reflects on the past 40 years, and attempts to protect his future. Abigail Cruttenden provides the perfect partner for him in her turn as Holly, holding him to account, and bringing a tense, uncertain and even dangerous dynamic between the pair.

As the younger Robert, Ben Lamb is far less put-together as he attempts to navigate the situation he finds himself in. Lamb’s performance has a brilliant balance of charm and cockiness that feels suitable to the character. Perhaps the standout performance belongs to Katie Matsell for her truly mesmerising turn as The Heiress (young Holly). Erratic in places, there is a real authenticity to this young character who finds herself at a pivotal crossroads, and is terrified of what is going to happen. Going on a fantastic journey in her performance, rather blunt and blase recount of what put her where she is paves way for a more emotive turn, demonstrating the strengths of Matsell as a performer.

Ragdoll has some real strengths going for it, namely that of its wonderful cast. When the writing is good, it’s incredibly good, but it does prove a bit too clumsy, inconsistent and underdeveloped at times. I felt like I was watching a first draft of a play as opposed to the finished version - though it might not seem like it, that is meant completely as a compliment as there is huge promise with this play, and only the slightest tweaks will allow it to reach its full potential. Minor faults aside, this is still an enjoyable addition from a young, exciting playwright whose career is sure to go from strength to strength in the years to come.

Ragdoll plays at Jermyn Street Theatre until 15th November. Tickets from https://www.jermynstreettheatre.co.uk/show/ragdoll/

Photos by Alex Brenner