Review: Speculations (Marylebone Theatre)
Review by Cat Wiltshire
⭐️⭐️⭐️
What if some of America’s most famous deaths were not quite what they seemed? From Marilyn Monroe to John F. Kennedy, the untimely deaths of several twentieth-century icons have inspired decades of speculation, suspicion and conspiracy theories. Now, playwright Torben Betts brings these mysteries to the stage in Speculations: On the Unexplained Deaths of Several American Icons, directed by theatrical heavyweight Trevor Nunn. With an intriguing premise, a distinguished creative team and a cast led by the formidable Janie Dee, the production certainly has the ingredients for a gripping political thriller. But can it uncover something new beneath the layers of conspiracy, or does it simply add another theory to an already crowded conversation?
Set in New York in 1965, the play centres on Dorothy Kilgallen, a real-life investigative journalist, newspaper columnist and television personality who became increasingly suspicious of the official explanations surrounding the deaths of Marilyn Monroe, President John F. Kennedy and Lee Harvey Oswald. Convinced that there is more to these events than the public has been told. Dorothy is working on a potentially explosive book when she is visited by Flo Jackson, played by Gloria Obianyo, a young babysitter with ambitions of becoming a journalist herself.
As Dorothy shares her findings with Flo, the audience is transported back to imagined encounters between some of America’s most recognisable figures. From Monroe's relationship with Robert Kennedy to Oswald's possible connections with organised crime, the play explores a tangled web of power, corruption and secrecy. Meanwhile, threatening phone calls and increasingly sinister incidents suggest that Dorothy's determination to uncover the truth may be putting her own life in danger.
Torben Betts has undoubtedly chosen fascinating subject matter, with the circumstances surrounding these deaths being debated for decades. Placing Dorothy Kigallen at the centre of the narrative offers an interesting perspective on a familiar collection of conspiracy theories. Rather than focusing entirely on the famous names, the play attempts to explore the woman who risked her reputation and potentially her life in pursuit of answers. Unfortunately, the writing doesn't always live up to the promise of its premise; much of the dialogue is very heavy, with characters spending considerable time explaining theories, historical events, and possible connections rather than letting the drama unfold naturally. The conversations between Dorothy and Flo are particularly information-heavy, and while they provide essential context, they can feel more like a history lesson than a compelling theatrical exchange.
The structure, which moves between Dorothys investigation and dramatised versions of the events she is researching, offers some welcome variety. However, the individual scenes do not always connect convincingly enough to create a satisfying overall narrative. The script also occasionally slips into melodrama, particularly when attempting to emphasise the danger surrounding Dorothy's discoveries. Interesting ideas lie beneath the sometimes cumbersome dialogue, with questions about the abuse of political power, the manipulation of public opinion, and the importance of investigative journalism that remain relevant today.
With a career spanning decades and productions including Les Misérables and Cats, Sir Trevor Nunn is one of Britain's most celebrated theatre directors. His involvement brings considerable theatrical experience to Speculations, and at times his approach captures the atmosphere of 1960s America. The transitions between Dorothy's home and the reconstructed encounters involving Monroe, Kennedy, and Oswald give the production a cinematic quality. These scenes also have a deliberate theatricality, as though we are watching Dorothy's interpretation of events rather than an objective account of history.
The pacing is problematic at two hours and 20 minutes, including an interval, feeling longer than its material warrants. Scenes occasionally linger beyond their dramatic usefulness, and the tension that should drive a political thriller struggles to build consistently. The threatening phone calls and moments of intimidation offer glimpses of genuine suspense, but lengthy conversations too often interrupt them and slow the momentum. Trevor Nunn's direction is polished in places, but it lacks the urgency and unpredictability needed to make the audience feel that Dorothy is genuinely closing in on something dangerously true.
Janie Dee as Dorothy Kligallen brings her considerable stage experience to a character who is intelligent, determined and increasingly vulnerable. Janie captures Dorothy's confidence and sharp wit well, portraying a woman accustomed to challenging powerful men and unwilling to accept the answers she has been given. As the threats against her get more intense, Dee allows anxiety to show through her composure. Unfortunately, despite Janie's accomplished performance, her character remains underdeveloped, and we learn more about the theories than the person who has them.
Gloria Obianyo brings warmth to Flo Jackson, the aspiring journalist who becomes Dorothy's sounding board. Her natural delivery provides a welcome contrast to some of the production's more theatrical performances, and her exchanges with Dorothy are among the play's most engaging moments. Because the character primarily serves as a way for Dorothy to explain her theories, she has little opportunity to develop Flo beyond a listener.
Natalie Dunne takes on the challenging role of Marilyn Monroe, presenting the Hollywood icon as a woman caught between her public persona and private vulnerabilities. While Natalie captures elements of Monroe's recognisable mannerisms, the portrayal occasionally feels exaggerated, especially in the more emotional scenes. Jolyon Coy portrays Robert Kennedy with a measured confidence, suggesting the political authority and personal complexities of a man whose public image conceals secrets. Joseph Potter brings an uneasy intensity to Lee Harvey Oswald, while Ferdy Roberts delivers a larger-than-life performance as mobster Carlos Marcello; he clearly enjoys the character's intimidating personality. His and Joseph Potter's exchanges give the audience some of the more entertaining moments, even if it's dark humour.
Lee Newby’s set design is one of the production's strengths, with the revolving stage allowing the action to move between Dorothy's home in New York, Marilyn Monroe's bedroom, and the bar where Oswald encounters Carlos Marcello. The transformations are effective and provide visual interest during a production that is otherwise conversation-heavy. The period furnishings and costumes help establish the glamour and sophistication associated with 1960s America.
Johanna Town's lighting complements these shifts in atmosphere, particularly during the more sinister moments when Dorothy begins to fear for her safety. George Clarke's sound design and period-inspired music contribute to the production's sense of time and place, with jazz providing a fitting backdrop to the unfolding mystery.
Speculations ambitiously revisits some of America's most enduring mysteries through the eyes of a determined female journalist whose story deserves greater recognition. The subject matter has enough intrigue to hold an audience's interest, and Janie Dee leads a talented cast who work hard to bring credibility and emotion to the material. The atmospheric staging and period design are also appealing. While it raises interesting questions about power, truth, and the dangers of investigative journalism, it offers few fresh insights into its familiar subject matter. An interesting, if flawed evening of theatre that leaves us with plenty of questions but not enough dramatic satisfaction.
Speculations plays at the Marylebone Theatre until 17th January. Tickets from https://allthatdazzles.londontheatredirect.com/play/speculations-tickets
Photos by Helen Maybanks