The Lady’s not for Burning is a cleverly crafted comedy, perhaps too clever to take in the first time around. I came away thinking I should perhaps have read it before the performance in order to obtain the maximum benefit from Christopher Fry’s humour and wit.

The play is set in “about” 1400 AD. The basic costumes, a mixture of eras, gave a hint of times past and worked well. The simple set of a table and stools, a clerk’s desk, a fire in an open hearth, and a house wall with full length windows and a door, which were often the focus of events, served all three acts.

The story is about a soldier, Thomas Mendip, played by Alan Cox. Unable to settle since he was demobbed he comes to see Mr Tyson the Mayor (Benjamin Whitrow) to admit to the murder of rag and boneman Skipps and requests to be hanged. The Mayor, about to celebrate the betrothal of his nephew Humphrey Devize (Oliver Senton) to Alizon Eliot (Georgina Sutcliffe), shows no interest in Thomas’ claims — “It will be looked into all in good time” — was his stock response to each piece of “evidence”.

Whilst Thomas is pleading to be hanged we meet the rest of the Mayor’s relations. His other nephew, Nicholas (James Thorne) has been fighting with brother Humphrey for Alizon’s hand. Their mother Margaret, played beautifully by Alison Fiske, tries to restore order in the dysfunctional family, at which point Jennet Jourdemayne (Nancy Carroll) arrives at the door asking for protection from the villagers who are accusing her of being a witch — turning Skipps into a dog (or is it a bitch5). The Mayor immediately presumes her guilt and instructs his clerk Richard (Ben Silverstone) to fetch the constable. The entranced Richard is reluctant to do this until guilt has been proven. Enter the chaplain, an eccentric fellow only interested in his beloved vial. He is full of self-doubt and the character is played to full effect by Patrick Godfrey.

Act 1 moved at speed, with quick fire quips from all the characters — although from the laughter around me I was obviously missing something. Act 2 was in complete contrast. The Mayor decided to allow Jennet and Thomas to talk alone hoping, with the door ajar, to hear them admit their guilt. The dialogue between the two was more measured and more philosophical and showing that, when it comes to verbal exchanges at least, a woman has equality with a man. I found it necessary to concentrate really hard to understand as they expounded their thoughts about the situations that had brought them to this point in their lives. At the end of it all Thomas remained determined to be hanged and Jennet equally determined she wanted to live. Unfortunately the Mayor was convinced that she had admitted to being a witch and entered the room saying she would be burnt at the stake tomorrow whilst Thomas’ claims continued to be ignored.

There was now a welcome interval after an intense ninety minutes. The audience was very quiet and I felt drained.

Act 3 was far more lively. The betrothal party was underway and Jennet and Thomas were allowed to join in the festivities. Following another verbal jousting match Thomas and Jennet declared their love for each other. Richard the clerk ran away with Alizon. The brothers Humphrey and Nicholas were pleased that the marriage was off and now turned their affections towards Jennet. And finally the ancient, bedraggled, unkempt Skipps (Leader Hawkins) was carried in alive (and dotty) to the disbelief of all — perplexed that there had been no murder nor any witchcraft. A happy ending.

The acting was superb and Christopher Fry, who was in the audience along with other well known actors, was given a standing ovation. However, it’s a play for the dedicated theatre goer and/or English Literature student who has the ability to concentrate on a clever (almost Shakespearean style) script where “the characters press on to the theme all their divisions and perplexities” (Christopher Fry).

It was undoubtedly an experience but I didn’t leave the theatre feeling that I had been to a comedy. © JMB

“The Lady’s Not for Burning” is in Chichester from the 22nd of May until the 15th of June, 2002 and is part of “A Feast of Fry” — a short series of rehearsed readings and events celebrating the work of Christopher Fry at Chichester Festival Theatre during June, 2000 and includes a talk by the author himself.