Ticket was gifted in return for an honest review
When reading the synopsis of Torben Betts' new play “Speculations”, I decided I should educate myself so I had basic knowledge of the "unexplained deaths of several American icons" central to the plot (and on the play's central character, Dorothy Kilgallen). In hindsight I wish I hadn't researched anything before going in. So I'm starting this review with a recommendation for if you do get a ticket: if you don't know much, keep to that basic knowledge! All the big theories presented in the play are just a few internet clicks away, so keep them to be revealed to you on stage. I believe it would make for a much more exciting experience!
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| Gloria Obianyo and Janie Dee. Photo by Helen Maybanks |
If you do already know most of the speculations surrounding these deaths, don't go in expecting any fresh takes or big reveals, as you may leave disappointed. However, there is praise to give on the writing style, production and performances that still make it an enjoyable watch, even if the plot and action of the play may not provide as many thrills as you may have hoped for from Betts' new political thriller.
The play jumps between three separate duologue scenes that build to the deaths we all already know are coming. Paired with the main bulk of the script being explanations and speculated re-enactments of the already well-known theories referred to above (presented as extremely shocking revelations to the only fictional character in the play, but perhaps not so shocking to a modern audience whose lives are intertwined with the internet and conspiracy theories galore), it could get pretty boring pretty quickly. Regardless of this, the production was an enjoyable watch and, thanks to the production points praised below, I was engaged throughout.
Trevor Nunn's direction is flawless and injected energy into the conversations happening between the three pairs of characters. The stage design and navigation of the space kept the play visually interesting even though no more than two people were ever on stage at one time. The clever set design consisted of three rotating walls that seamlessly transported us between the three locations of the play. I also enjoyed the slow transitions the turning walls provided between the repetitive scene structure of act one. They gave the audience a sufficient pause to process the information given in the previous scene, and to collect their own thoughts, reflecting the lesson Kilgallen is trying to give wannabe reporter Flo in the world of the play. It also made clear the repetitive order and pace at which we switched between the three storylines in Act One. Establishing a rhythm they could then break from in Act 2, which was a switch-up I welcomed with open arms.
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| Janie Dee. Photo by Helen Maybanks |
Beyond the basis of the script not providing many revelations or plot developments that weren't established from the start, or known from historical knowledge of the play's source material, Betts' writing style made it easy to enjoy nonetheless. The invented conversations between the
well-known historical celebrities felt natural and Betts' witty humour kept it entertaining. For me, what it may have lacked in expected thrills, it made up for in unexpected laughs. Betts also struck me with a multitude of poignant one-liners that felt extremely relevant to the political sphere of today, making what we were watching feel relevant and useful for audiences to reflect on even though it was set six decades ago.
The entire cast provided strong performances. Each pair had a compelling energy between them, contributing to what made this such an easy watch for me. Janie Dee was spot on with her portrayal of Kilgallen, commanding the whole room's attention and injecting life into the play as soon as she started typing on Dorothy’s typewriter in the opening moments. I also particularly enjoyed the scenes between Lee (played by Joseph Potter) and Carlos (played by Ferdy Roberts).
The portrayal of Norma Jean/Marilyn Monroe didn't land with me. At no criticism of Natalie Dunne, who is a fabulous performer. I felt underwhelmed and disappointed by what I thought might be a fresh and alternative portrayal. I expected a more human representation of her in her final moments of life, a woman just like any other. Maybe that's what Betts was trying to write...but surely Norma Jean deserves more emotional depth and relatable personality than just switching between seductive hysterical woman and emotional, angry hysterical woman. The only evidence of the undervalued intelligence she is said to have, was in the general statements of “She was smarter than people think”. The effort to portray a kind of "human under the character” by her starting the show in Marilyn’s red lipstick and heels, which she removed before the end of Act Two, was a basic, surface-level attempt at dismantling the dumb and dependent "Blonde Bombshell" stereotype. I felt that Speculations portrayal of Norma/Marilyn contradicted Kilgallen's claim that she was not what people thought.
The play's real value lies in its wider themes, not in the specifics of these characters and these historical events. The most impactful lines were those acknowledging the general themes of the play: those of politics, corruption, power and the polarisation between people that either trust or question what the public is told. It can challenge audiences to rethink where they stand, who they trust to get their information from and what might be happening behind all the headlines and stories they see every day on the news or in their feed. Who had the power to put them there and why? Are there Kilgallens of today being silenced?
Speculations is a play that does have real value. It provides a space for audiences to interrogate their own position of either believing or questioning everything they're told, and whether one leaves you better off than the other. It is running at the Marylebone Theatre until 17th January 2027.
Tickets are available from https://www.marylebonetheatre.com/productions/speculations
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| Natalie Dunne and Joylon Coy. Photo by Helen Maybanks. |
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