Review: The Party Girls (Marlowe Theatre)

Review by Dan Ghigeanu

⭐️⭐️⭐️⭐️

In its boldest move yet, the Marlowe Theatre launches its own original production, The Party Girls, under the newly established Marlowe Theatre Productions banner. Written by Amy Rosenthal and directed by Richard Beecham, the play embarks on a gripping exploration of one of Britain’s most controversial families, the Mitford sisters. Rich in political tension, familial complexity, and tragic poignancy, this premiere is not only a local theatrical achievement but a clear statement that Kent can produce high quality productions.

Amy Rosenthal’s script navigates the intricate and often shocking history of the Mitford sisters with confidence and complexity. Set across multiple time periods and locations including Oxfordshire in 1937, Washington D.C. in 1942, and Versailles in 1969, the play weaves a non-linear narrative that mirrors the fractured relationships and ideological rifts between the sisters. These time shifts are handled with fluidity, ensuring that the audience never loses its footing in the narrative. This is no small feat given the play’s ambition, and it pays off in an emotionally resonant and intellectually stimulating production. It’s a portrait of a family divided by politics, war, and personal convictions, yet bound by an inescapable, sometimes strained, sisterly bond. The Party Girls does not attempt to sanitise or romanticise their lives, instead, it revels in the contradictions, illuminating both the glamour and grotesqueness of the time.

At the heart of the play lies a duality: politics versus family. The ideological clashes between the sisters, particularly between the fascist Unity Mitford played by Ella Potter, the communist Jessica Mitford played by Emma Noakes, and the more liberal Nancy Mitford played by Kirsty Besterman. The production could have easily turn into a lecture or history lesson, but instead, The Party Girls is sharply character-driven, exploring how these political differences were not abstract disagreements but rifts that tore at the very fabric of familial love. Amy Rosenthal treats these themes with a rare combination of sensitivity and ferocity, never underestimating the emotional stakes of political conviction and not shying away from the uncomfortable truths. The audience is not told what to think, they are invited to reckon with history through the lens of a single, fractured family.

The production is a true ensemble piece, with each member of the cast delivering layered, emotionally resonant performances. The chemistry between the sisters is palpable, capturing the complex dynamics of rivalry, affection, resentment, and loyalty that define sibling relationships, especially in times of crisis. Emma Noakes brings a fiery intelligence and emotional depth to Jessica Mitford, also referred to as ‘Decca’, whose political beliefs are tempered by a strong loyalty to her family, despite their differences. Her scenes with Ell Potter’s Unity Mitford crackle with the tension of two women who grew up together, now finding themselves on opposite sides of history. As Unity, Potter delivers a fearless and haunting portrayal of a woman consumed by ideology. Her performance is both unsettling and deeply human, refusing to reduce Unity to a caricature despite the horrifying implications of her beliefs. She handles the character with remarkable care, portraying her not simply as a Nazi sympathiser, but as a deeply tragic figure whose misled passion ultimately leads to ruin.

The standout performance of the night belongs to Kirsty Besterman playing Nancy Mitford. She captures the complex blend of wit, bitterness, and heartbreak that made Nancy Mitford one of the most compelling voices of her generation. Whether delivering sharp one-liners or navigating the sorrow of watching her family unravel, she moves seamlessly between every emotion. Her performance is a masterclass in nuance. Often the comic relief, she balances wit with world-weariness, moving effortlessly through different time periods and blend of emotions. Her comedic timing is impeccable getting the most laughs of the evening but it’s her subtle portrayal of internal conflict and quiet despair that stays with you after the show ends.

Richard Beecham stages the play with a cinematic fluidity that matches the episodic structure of the text. Every scene transition is done with grace and momentum, aided by Simon Kenny’s outstanding production design. Simon Kenny’s set is both evocative and functional with elegant period detail and clever architectural shifts that transport the audience across different time periods and places. The costume design, also by Simon Kenny, is another highlight. Each sister is dressed not only in period-appropriate fashion, from Unity’s austere, military-inspired silhouettes to Jessica’s working-class clothes, the costumes serve as an extension of characters political beliefs.

If there is a flaw in The Party Girls, it lies in its pacing. The opening scenes, while acted beautifully, unfold in a slightly confusing manner that may leave audiences feeling as though they’ve arrived halfway through a scene. The script takes its time establishing its context and characters, which may be a deliberate choice, but risks losing the audience members unfamiliar with the story of the Mitford sisters. That said, once the show gets going, the payoff is deeply rewarding.

What is perhaps most striking about The Party Girls is its unflinching engagement with politics, not just as historical backdrop, but as a force that shapes and destroys lives. This is not merely a history play, nor a family drama, it is, at its core, a meditation on the human cost of ideology and what happens when the personal and political collide within the closest of bonds. Amy Rosenthal doesn’t offer easy answers or tidy resolutions. The production asks the audience to reflect on the cyclical nature of history, and it does so with grace and impact as it draws sobering parallels between the rise of fascism in the 1930s and the political landscape of today.

With The Party Girls, the Marlowe Theatre has not only staged an ambitious and beautifully executed new play, but it has also announced itself as a serious creative force in regional theatre. As a first original production, The Party Girls sets a remarkably high standard and shows that Kent can produce theatre that is both artistically ambitious and culturally relevant. With its upcoming UK tour, it is clear that this production has the legs and the intellectual depth to resonate with people all over the country. Whether you want to see the show for the history, the politics, or the performances, The Party Girls offers a night of theatre that is as thought-provoking as it is emotionally charged. It is not only a triumph for Amy Rosenthal and the creative team but a powerful reminder of theatre’s ability to hold a mirror to both our past and our present.

The Party Girls plays at the Marlowe Theatre until September 6th

For tickets and information visit https://marlowetheatre.com/shows/the-party-girls/

Photos by Mark Senior