The Red Ellen of the title was Ellen Wilkinson: trade unionist, campaigner, novelist, journalist, essayist and politician. Her nickname refers not only to her political colour and to the shade of her hair, but also to her fiery personality. MP for Middlesbrough East 1924-31 and for Jarrow from 1935 until her death in 1947, for a time Wilkinson was one of only four women in the House of Commons and Labour’s only female MP. Her achievements are extraordinary by any standards, but, given her working-class background and the limited possibilities for women in her day, they are positively heroic.
This new play by the dramatist and poet Caroline Bird explores Wilkinson’s later years through a series of disconnected short scenes. Camilla Clarke’s design and Wils Wilson’s direction facilitate speedy scene transitions, with the seven-strong cast acting also as onstage set- and costume-changers. The overall impression is slick and stylish but superficial.
Bird’s text emphasises Wilkinson’s presentational qualities, her energy, verve and drive – all superbly realised in a dynamic performance by Bettrys Jones. The strongest scenes show her at work, in relation to the world of her day: arguing that the men on the Jarrow march should not be denied unemployment benefit (she was one of its main organisers); being confronted by women in the blitz (she had responsibility for organising air-raid shelters); announcing in the House of Commons (as minister of education) that milk in schools will be free.
On her death, all Wilkinson’s personal papers were destroyed. Scenes devoted to her private life are, therefore, imaginary. There’s nothing wrong with this in principle, but overlong exchanges with her sister, friend, lovers and colleagues are emotionally manipulative of the audience rather than dramatically effective.
Bird’s play (a co-production from Northern Stage, Nottingham Playhouse and Edinburgh’s Royal Lyceum theatre), swithering between agit-prop and melodrama, lacks the courage of Wilkinson’s convictions.
