Nichola McAuliffe reprises the eponymous role that was written for her in Arnold Wesker's 1980s triptych
On the cover of the programme for this latest iteration of Annie Wobbler is a vivid sketch of actor Nichola McAuliffe by Polish artist Feliks Topolski. Then in his mid-70s, he drew it to advertise the first production of the play at Repertory Theatre, Birmingham in 1983. Jewish playwright Arnold Wesker, who died in 2016 aged 83, wrote it especially for McAuliffe. “He would not allow it to be done until I was cast in it,” she states in an interview in the programme. So it is fitting that none other should adapt it for a new audience than McAuliffe herself.
A key difference between the original and the ‘revisited’ version is that it begins with the youngest embodiment of Annie, rather than the oldest. McAuliffe’s ability to deliver the multiple monologues is extraordinary. On a versatile set flanked by a pair of shapely nude mannequins and filled with shelves harbouring various items of make-up, clothing and hardware, she seamlessly morphs from one age to another, transforming with every costume change and hair styling.
Youngest incarnation Anna, a northerner who’s just graduated with a degree in French, dresses with care for a date with her boyfriend. She is outwardly confident, despite her mother’s apparent criticism, even jealousy. We hear the voice of the boyfriend (Alex Jennings), the first of three male characters, in an inventive dramatic device that adds to the verisimilitude.
Just as we settle into Anna’s story, McAuliffe divests herself of a layer of clothing with some relish to change into the first of three different manifestations of the writer Annabella Wharton. First, she is the novelist in the Cotswolds, now elegantly clad in a floaty gown, being interviewed by a succession of radio presenters who are all voiced by BBC journalist James Naughtie. Annabella is of course now older and more confident in middle age, giving as good as she gets with the reporters. She soon evolves into the very nervy, self-effacing Irish poet version of Annabella, who in turn contrasts with the third, fearless Scottish author.
Finally, we meet Annie in old age, the climax of this gradually ageing trio of vignettes. She is an untidy and homeless Cockney charwoman (old term for a cleaning lady) – a character based on the woman who cleaned Wesker’s childhood home, albeit that his family were relatively poor East End Jews. Old Annie is alone and stranded on a station platform that we discover, after an announcement (voiced by Peter Straker), is Waterloo. Annie has nowhere to go and no hope left.
The strength of character that McAuliffe displays is astounding, both in her command of the multifaceted leading role and her determination to bring Annie Wobbler back to the stage. In doing so, she has revived not only a glorious old story, but the spirit of Wesker himself.
By Judi Herman
Photos by Ella Carmen Dale
Annie Wobbler (Revisited) runs until Saturday 26 September. 7.30pm, 3pm (Sat & Sun only). From £20, from £18 concs. Finborough Theatre, London, SW10 9ED. finboroughtheatre.co.uk