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AMATEUR THEATRE REVIEW: Blue Stockings – Bebington Dramatic Society, Gladstone Theatre, Port Sunlight Village
AMATEUR THEATRE REVIEW: Blue Stockings – Bebington Dramatic Society, Gladstone Theatre, Port Sunlight Village
"Love or knowledge: which would you choose?"
Theatre has a unique ability to transport audiences into different worlds, allowing us to reflect upon both our past and our present. Jessica Swale's Blue Stockings does precisely that. Set in Girton College, Cambridge, in 1896, the play follows a group of pioneering young women determined to gain an education in a society that questions whether they belong within the walls of academia at all. Through friendship, ambition, sacrifice and resilience, Blue Stockings explores the struggle for equality and reminds audiences that progress is often achieved through the courage of those willing to challenge tradition.
Originally written by Jessica Swale, Blue Stockings tells the story of the first female students at Cambridge University as they fight for the right to receive degrees alongside their male counterparts. Whilst firmly rooted in history, its themes of gender equality, opportunity and social change remain strikingly relevant today. Under the direction of Caroline Kay, this production embraced both the intellectual and emotional heart of the play, delivering an evening that was thoughtful, moving and frequently inspiring.
One of the production's greatest strengths was Kay's clear understanding of the story's central message. From the opening moments at Girton College, the audience was immersed in a world of eager young scholars determined to prove their worth. Through energetic movement, natural interactions and carefully crafted relationships, the director immediately established both the excitement of academic life and the challenges faced by women seeking acceptance in a male-dominated society.
What impressed most about Kay's direction was the clarity of her storytelling. Blue Stockings contains numerous locations, shifting relationships and complex political debates, yet the narrative never became confusing. Every scene felt purposeful and every movement across the stage contributed to the wider story. The open classroom design proved particularly effective, allowing audiences to observe both the female and male students simultaneously, reinforcing the contrasts and similarities between their experiences.
The staging throughout was fluid and natural. Cast members moved seamlessly between scenes, creating bustling streets, busy classrooms and lively social spaces even with a small ensemble cast. One particularly effective transition saw the café scene flow directly into the gentlemen's drawing room without pause, maintaining momentum and demonstrating excellent attention to pacing.
Visually, the production was both effective and atmospheric. Lighting by Lewis Bradley played a significant role in establishing location and mood throughout. Rich blues and purples combined with haze transformed the stage into a bustling Victorian railway station, creating an immediate sense of period and place. These same colours were later used during the intimate evening scenes between the young lovers, creating a romantic and reflective atmosphere. In contrast, bright lighting illuminated the classrooms, symbolising knowledge, opportunity and academic aspiration.
The use of lighting during public speaking sequences helped focus attention on individual characters addressing the wider community, whilst projections added both practicality and visual interest. Old English text projected across the stage helped establish key moments within the narrative, whilst projected imagery depicting locations that would have been difficult to create physically expanded the world of the play beyond the stage itself.
Sound design by Roger Pullin also contributed significantly to the production's success. Subtle background conversations created the impression of busy public spaces, whilst train station effects immediately transported the audience into Victorian England. Owl calls accompanied the evening scenes, enhancing the atmosphere of secrecy and romance. More dramatic moments, including smashing glass and breaking crockery, added impact when required. Throughout the performance, the cast projected clearly and confidently, ensuring that the play's rich dialogue and political arguments remained accessible to the audience.
Costumes by Vikki Bridson-Vice and Angela Bridson beautifully captured the period setting. Traditional Victorian dress established the social expectations of the era whilst helping define individual characters. Hairstyles and wigs reflected the period with impressive attention to detail, creating a cohesive visual world. Particularly striking was the academic cloak worn by one of the professors, which immediately distinguished him from the more traditional tailcoats worn by many of the male characters.
The set and props team that included Joan Mason, Maggie Tomlins & Carol Pullin also deserve considerable praise. Study satchels filled with books accompanied the Girton students throughout, serving as constant reminders of their dedication to learning. Bookcases, desks and countless volumes created convincing academic spaces, whilst old suitcases, café tables and benches helped establish a variety of locations. The traditional study desk framing much of the stage action proved especially effective, whilst the inclusion of smaller details such as telescopes and classroom furniture added further authenticity to the production's world.
At the heart of the play are the Girton Girls, and each performer brought individuality, intelligence and emotional depth to their role. As Tess Moffat, Rosabelle Bennett delivered a compelling and determined performance, capturing the character's fierce ambition whilst never losing sight of her vulnerability. Tess's struggle to balance academic aspiration with personal relationships formed much of the emotional core of the story, and Bennett navigated these complexities with confidence and maturity.
Alice Rowlands brought warmth and sincerity to Celia Willbond, creating a character whose optimism and loyalty made her immediately likeable. Her interactions with the other Girton students felt genuine throughout, helping establish the strong friendships that underpin the play.
Gemma Dykes impressed as Carolyn Addison, bringing both strength and intelligence to the role. Carolyn's passion for education and social change was evident throughout, whilst Dykes ensured the character remained grounded and relatable with a touch of upper class humour really rounded out this fantastic role.
Megan McWha delivered a heartfelt portrayal of Maeve Sullivan. Her performance captured both the pride and sacrifices experienced by women pursuing education during this period, and she handled several of the play's more emotional moments with great sensitivity.
Among the male students, Jay Duncan brought charm and sincerity to Ralph Mayhew. His chemistry with Bennett felt natural and believable, allowing the audience to invest fully in their relationship. Adam Comer, Stuart McBurney, Josh Wood and Connor Jones all contributed strongly as Lloyd, Holmes, Edwards and Will Bennett respectively, creating a convincing representation of the varied attitudes held by young men during this period of social change.
The staff characters provided both authority and conflict throughout the production. Philippa Hipwell gave a thoughtful and measured performance as Elizabeth Welsh, embodying the determination and quiet strength of a woman fighting for educational equality. David Oliver impressed in the dual roles of Dr Maudsley and Mr Peck, creating two distinct characters with contrasting perspectives. Gareth Jones, Mike Webster and Roger Hesketh all brought credibility and presence to their respective academic roles, whilst Jane Wing contributed strongly as Miss Blake. Throughout the production, Matt Kasprzak playing the role of Mr Banks maintained strong characterisation and consistency, ensuring Mr Banks remained a fully realised figure rather than a simple obstacle within the story. It was a thoughtful and well-observed performance that strengthened the production's exploration of prejudice, privilege and social change as well as the struggles faced by men who decided to fight alongside the women for change.
One performer who deserves special recognition is Jaime Morgan in the dual roles of Minnie and Mrs Lindley. Although both parts were relatively small within the wider narrative, Morgan approached each character with such individuality that they felt like entirely separate people. Her ability to switch between roles without any sense of repetition was remarkable, creating two fully realised characters through changes in physicality, voice and mannerism. It is often said that there are no small parts, only small opportunities, and Morgan demonstrated exactly how memorable a performer can be regardless of stage time. Her versatility and attention to detail made both appearances stand out and provided some of the evening's most enjoyable moments.
The supporting cast all contributed significantly to the success of the production. Joan Mason brought warmth and character to Miss Bott, whilst Stuart McBurney's second role as Billy Sullivan further demonstrated the strength and versatility within the company.
It was also lovely to see members of the production team appearing on stage within the café scenes. Props team members Joan Mason, Maggie Tomlins and Carol Pullin helped create a wonderfully authentic atmosphere as the elderly ladies enjoying their refreshments. These small touches reinforced the strong sense of community that exists within Bebington Dramatic Society and highlighted the collaborative nature of amateur theatre.
Credit must also go to Assistant Director James Kay and Stage Manager Jane Gordon. With numerous scenes, props, costume elements and transitions to coordinate, the production maintained an impressive pace throughout, ensuring the audience remained fully engaged from beginning to end.
What made this production particularly special, however, was its relevance. Although set more than a century ago, Blue Stockings reminds us that progress is rarely straightforward and that many of the opportunities we enjoy today were achieved through the determination of those who came before us. The struggles faced by the Girton students continue to resonate, making the play both educational and moving.
The evening also provided an opportunity to appreciate the continuing improvements being made at the Gladstone Theatre. The venue itself looked fantastic, with recent refurbishment work including new carpeting helping create a welcoming and modern environment whilst maintaining the theatre's historic charm. The upgraded lighting infrastructure has further enhanced the audience experience, supporting productions such as Blue Stockings with greater technical flexibility and visual impact.
Particularly exciting is the forthcoming addition of the new Encore Café, which promises to become a valuable social hub for audiences, performers and visitors alike. Community theatres thrive not only because of the productions they present but because of the spaces they create for people to gather, connect and share experiences. The addition of the café represents another positive step forward for the Gladstone Theatre as it continues to strengthen its position as a vibrant cultural venue within Port Sunlight Village.
As the final scenes drew to a close, audiences were left reflecting not only on the injustice faced by these pioneering women but also on the extraordinary resilience they demonstrated in the face of adversity. Through strong performances, thoughtful direction and technical support, Bebington Dramatic Society delivered a production that honoured both the historical significance and emotional power of Jessica Swale's play.
Filled with intelligence, heart and a genuine appreciation for the importance of education and equality, Blue Stockings proved to be a moving celebration of courage, friendship and perseverance. Caroline Kay, her creative team and the entire company should be immensely proud of what they achieved. This was a production that entertained, educated and inspired in equal measure, and one that will remain in the memory long after the final curtain call.
What made this production particularly special was that its impact extended far beyond the stage itself. The Wednesday evening performance was presented in aid of the St Vincent de Paul Society, helping to raise funds to provide underprivileged children with the opportunity to spend a week in Wales enjoying outdoor activities, experiences and adventures that many might not otherwise have access to. Thanks to the generosity of audiences and supporters, the evening raised an impressive total of more than £2,000 for the charity.
Community theatre is often celebrated for its inclusivity, bringing together people of all ages, backgrounds and experience levels to create something special. However, its value extends far beyond those directly involved in the production. Organisations such as Bebington Dramatic Society continually demonstrate that amateur theatre can be a powerful force for good within the wider community, using creativity and entertainment not only to enrich the lives of performers and audiences but also to support important charitable causes.
There was something particularly fitting about a production such as Blue Stockings being connected to a charitable initiative focused on providing opportunities for young people. Just as the play tells the story of individuals fighting for access to education and opportunity, the fundraising efforts of the company help create opportunities for children to learn, grow and experience new adventures. It served as a wonderful reminder that theatre has the ability not only to tell meaningful stories but also to make a meaningful difference.
Reviewer: Matthew Maney – AMT Productions
Date: 11.06.26
Bebington dramatic has many great shows lined up for next year but first on the cards is The Full Monty follow the link below to grab your tickets.
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Bwalya Mutale-Kibaris
Bwalya Mutale-Kibaris has always enjoyed writing, whether it be fictional stories, the first 10 pages of a script or book, or writing reviews for random brochures back in her university days! Bwalya loves putting words together to create something that is hopefully informative, engaging or at the very least, easy to read and understand! She is grateful to AMT Productions for giving her the opportunity to write a review for a play in 2024. This was a rewarding learning experience that Bwalya will take with her to all future ventures as she plans to fill much of her time writing with the hope of leaving readers suitably entertained.
Rebecca Topping
Rebecca Topping studied Drama at Queen Mary University of London and has been writing and producing plays professionally for over 10 years. She has experience of performing and directing on London’s West End and is currently teaching Comedy and Drama for the Pauline Quirke Academy of Performing Arts and working creatively in communities for a charity in Birkenhead. With sell out runs of comedy shows in London, Liverpool and Edinburgh, she is no stranger to the jokes and gags needed to have an audience in stitches.
Abigail Bradbury
Abigail is a Choreographer, Director and Movement Director for professional and amateur large-scale musicals, plays, films and pantomimes across the UK. Abigail has worked extensively within the industry, appearing in her first TV series at the tender age of 6. Abigail HAS Radio, Film and television credits with BBC, ITV, BBC Merseyside Radio and Heart Radio. In addition to her radio and television credits, Abigail’s professional performing career also includes leading roles in ‘Peter Pan’, ‘Pied Piper’, ‘Her Benny’, ‘Christmas Carol’ and ‘David Copperfield’, in a variety of touring theatres across the UK, AND HAS recently performed in ‘Shrek the Musical’, ‘Chitty Chitty Bang Bang’ and ‘The Sound of Music’ at the Liverpool Empire.
Abigail has always had a passion for teaching and sharing her knowledge and skills within the theatre industry.
Matthew is a Director of AMTP LTD and has also starred in multiple TV & film appearances, Matthew has been involved in large scale productions of both theatre and fashion events throughout his life and has a passion for the arts.