Review: GUNTER, The Royal Court
Alex Brenner
Following its sold-out premiere at Summerhall at the Edinburgh Fringe Festival 2023 which was awarded the Scotsman Fringe First Award and made a distinctive impact all-round, Dirty Hare’s production of Gunter has been transferred to the Jerwood Theatre Upstairs at the Royal Court. Co-created by Lydia Higman, Julia Grogan and Rachel Lemon, now London audiences have an opportunity to experience what all the fuss is about and if you can make to its run ending April 25 2024, make the effort!
Gunter unveils a true story from1604 about a young girl called Anne Gunter who starts convulsing, vomiting pins, and accusing local women of bewitching her. Accompanying her accusations is her father Brian Gunter. Brian is a known local brute who is responsible for murdering two boys at a football match. The mother of the murdered boys wants justice but Brian, the richest and most powerful man in the village refuses to be brought down and manipulates himself free. A feud begins. When Brian’s daughter Anne starts demonstrating her bewitchment and an allegation is made against the mother to essentially shut her up. One man, in this situation seems to have the power to cause unparalleled pain and chaos for the people around him with little consequence, however, the woman affected may suffer as a result but never quietly and not without a challenge!
The play consists of 3 actors Julia Grogan, Hannah Jarrett-Scott and Norah Lopez Holden who multi role throughout. Their physicality and embodiment of the characters is explosive, driven with conviction and humour. A fourth performer Lydia Higman, who is in fact a true historian and live musician holds the performance by offering just the right amount of lecture style commentary about the real events that took place during this trial. Director Rachel Lemon clearly understands their cast and has empowered a ferocity in each of them as they share the story.
From the beginning of the show, the space gets ‘messy' literally and metaphorically and does not stop. The fourth wall is often broken during the show but in a way that is non intimidating. Even the lighting often makes the audience present during the events adding to the urgency behind the plays excavation of the past to ponder.
This is a true ensemble of creatives who have their teeth in all aspects of the play and have something to say. Their voice and the solidarity for woman who suffered and challenged the unwavering patriarchy 400 years ago echos the aggression that resonates in todays society. If a woman is displeasing to who holds the power, then they too may not go on trial like in times gone by.
Gunter sophisticatedly tells an old story with a modern lens to make this point and is unapologetic about it. The witch trial these days may have been rebranded but it still has a presence.
**** Four Stars
Reviewed by Stephanie Ozstreicher
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