Jeannie

by Aimée Stuart

27 November - 22 December 2018

“What’s the use of romance if there’s no truth in it?”

The first professional production in 80 years

It is 1936 in a “wee one-eyed” town in Scotland. Jeannie is a drudge for her mean controlling father, but dreams of a different life. When she receives a large inheritance, she seizes the opportunity to finally escape to the glamour and sophistication of European travel.

During her stay in Vienna, she encounters Stanley, a washing machine inventor from Yorkshire, and then a real Viennese Count. But Jeannie is no pushover. She knows her own mind, she is a stickler for the truth, and she hates scroungers…

A 1930s version of the Cinderella story from a rediscovered female playwright, Jeannie is a charming light romantic comedy, ideal for the Christmas season, and unseen in London since 1940.

About Playwright Aimée Stuart

Playwright Aimée Stuart (1886-1981) was born in Glasgow. She first came to prominence when she wrote the passionate memoir, An Airman’s Wife (1918). Two further novels were published before she began to write plays with Philip Stuart including Nine Till Six (1930). Jeannie (1936) was the first play she wrote after his early death, followed by a string of further hits including the almost-openly lesbian play Love of Women (1937) and Lace On Her Petticoat (1951). Many of her plays were made into films, and she also wrote additional dialogue for a number of acclaimed films including Leslie Howard’s The Gentle Sex (1943) and The Wicked Lady (1945).

About Director Nicolette Kay

Director Nicolette Kay returns to the Finborough Theatre where she directed Seed, Love Child and Hurried Steps. She is Artistic Director of New Shoes Theatre and has directed and toured work in venues as diverse as NIDA in Sydney, Battersea Arts Centre, Lancaster Playhouse, the MAC and the Demarco Gallery, Edinburgh. Her productions and co-translations of plays written by the highly respected feminist writer Dacia Maraini have been featured in publications and anthologies worldwide. She trained as an actress at the Drama Centre London and played leading roles for the Cambridge Theatre Company, in repertory, the Gate Theatre and The Young Vic.

The Press on Jeannie

“What an Aladdin’s cave of theatrical rediscoveries the Finborough is. This festive-season jewel is an interwar spin on the Cinderella story from Scottish playwright Aimée Stuart” Fiona Mountford, Evening Standard

“Jeannie feels more like a classic Hollywood movie than a forgotten relic.” Harriet Corke, The Spy in the Stalls

“A near masterpiece.” Jeff Prestridge, Close-Up Culture

“It proves a delight.” William Russell, Reviewsgate

“Jeannie is witty and spirited, with a kind of nostalgic charm that makes it an ideal form of escapism.” Harriet Corke, The Spy in the Stalls

“Jeannie premiered in the West End in 1940 yet the story, about a dour, naive Scots lassie set loose with an inheritance, is years ahead of its time.” Anne Cox, Stage Review

“One more instance of the Finborough rescuing a playwright from oblivion, which the theatre is particularly good at doing.” William Russell, Reviewsgate

“Very charming.” Fiona Mountford, Evening Standard

“Charming, light and romantic.” Evangeline Cronchey, KCW Today

“Jeannie is a hearty play.” Hilary Webb, A Younger Theatre

“A superb play.” Theatre and Arts Review

“A light, consistently entertaining evening.” Partially Obstructed View

“Perfectly formed and performed.” Jeff Prestridge, Close-Up Culture

“Utterly charming.” George Althaus, London-Olios

“Jeannie feels like a classic Sunday afternoon black and white film with a mug of hot cocoa- just the thing for chilly winter evening.” Siân Rowland, London Pub Theatres

“Certainly compared with Austerity Britain, Jeannie’s weariness at her frugal existence and her joy at revelling in guilt-free spending will resonate today.” Breaking the Fourth Wall, Michael Davis

“Plenty of caustic wit on offer.” Rachel Halliburton, The Arts Desk

“Enchanting and whimsical.” Anne Cox, Stage Review

“This revival succeeds, not only in celebrating her work, but in creating a refined production of her sweet and enchanting play.” Harriet Corke, The Spy in the Stalls

“Hawthorn, onstage almost throughout, is a strong and believably wide-eyed lead, well matched by Matthew Mellalieu as the no-nonsense Stanley Smith.” Fiona Mountford, Evening Standard

“The role of Jeanie demands an actress who can charm and in Mairi Hawthorn director Kay has found one.” William Russell, Reviewsgate

“Mairi Hawthorn catches all Jeanie’s bloody mindedness, her determination not to owe anybody anything, and her innocent abroad qualities. It is a performance to beguile.” William Russell, Reviewsgate

“Mairi Hawthorn brings Jeannie to life with subtly and humour: her nuanced performance reveals Jeannie’s hidden depths and endears her to the audience from the very beginning. Her chemistry with Matthew Mellalieu (whose down-to-earth Stanley Smith perfectly balances our Jeannie’s innocence) ensures that their scenes together are the most enjoyable of the show.” Harriet Corke, The Spy in the Stalls

“Mairi Hawthorn, who does a brilliant job at bringing this complicated character to life.” Hilary Webb, A Younger Theatre

“The ever optimistic and strictly principled Jeannie is a real heroine to root for, played with pure unaffected charm by Mairi Hawthorn.” Julia Rank, The Stage

“Hawthorn also captures exactly Jeannie’s mix of inbred puritanism and latent hedonism.” Michael Billington, The Guardian

“This rediscovered gem is wonderfully written and sparkles with Hawthorn’s captivating performance.” Anne Cox, Stage Review

“Mairi Hawthorn asserts herself doughtily as Jeannie.” Rachel Halliburton, The Arts Desk

“Mairi Hawthorn is perfect.” Siân Rowland, London Pub Theatres

“Hawthorn’s chemistry with Matthew Mellalieu, who plays Stanley Smith, is perfect, as they bounce off of each other’s banter with snappy ease.” Hilary Webb, A Younger Theatre

“A winning turn by relative newcomer Mairi Hawthorn. She’s a delight.” Anne Cox, Stage Review

“It’s a peach of a part into which Mairi Hawthorn, only recently out of drama school, gratefully sinks her teeth.” Michael Billington, The Guardian

“The evening is most definitely Hawthorn and Mellalieu’s, and the resolution is genuinely delightful.” Rachel Halliburton, The Arts Desk

“Marvellous Mairi Hawthorn.” Jeff Prestridge, Close-Up Culture

“Hawthorn is the play’s star. She shines brightly throughout, capturing perfectly Jeannie’s naivety and her temporary joie de vivre at escaping the shackles of her father.” Jeff Prestridge, Close-Up Culture

“The dialogue is light and witty and handled skilfully by the cast.” Harriet Corke, The Spy in the Stalls

“Terrific support from Matthew Mellalieu and Patrick Pearson.” William Russell, Reviewsgate

“An outstanding and beautifully restrained performance by Matthew Mellalieu.” Anne Cox, Stage Review

“Good support from Matthew Mellalieu who lends the Yorkshireman a Priestley-like stolidity, Patrick Pearson as the silver-haired count and Madeleine Hutchins as the silky fashion model.” Michael Billington, The Guardian

“Matthew Mellalieu is charming.” Siân Rowland, London Pub Theatres

“Kim Durham also stands out.” Harriet Corke, The Spy in the Stalls

“Kim Durham is particularly good.” Siân Rowland, London Pub Theatres

“A gifted cast.” Hilary Webb, A Younger Theatre

“The show benefits from an excellent cast.” Harriet Corke, The Spy in the Stalls

“A strong supporting cast.” Anne Cox, Stage Review

“The play is well-cast and the principal characters have a natural chemistry.” Breaking the Fourth Wall, Michael Davis

“There are lovely moments for all the cast members to get their teeth into.” Siân Rowland, London P

ub Theatres “Nicolette Kay’s warm-hearted production conjures a credible selection of locations from a streamlined range of stage furniture and props.” Fiona Mountford, Evening Standard

“Director Nicolette Kay has done a splendid job.” Anne Cox, Stage Review

“Elegantly staged by Nicolette Kay with a set by James Helps that shifts easily from a Scottish stone kitchen to a luxurious continental hotel.” Michael Billington, The Guardian

“Jeannie is a light-hearted romance that has you rooting for the heroine and while the story jogs along nicely under Nicolette Kay’s deft direction, there’s no great moral or message in the script making for an enjoyable and light couple of hours.” Siân Rowland, London Pub Theatres

“This is a wonderful production, directed with great skill by Nicolette Kay. The costumes (James Helps) are super, transforming dowdy Jeannie at one stage into a Scottish princess.” Jeff Prestridge, Close-Up Culture

“The set and costumes from James Helps are immaculate.” Siân Rowland, London Pub Theatres

“James Helps’ set design cleverly uses a single large backdrop that unfolds and turns into the various locations.” Partially Obstructed View “James Help’s nifty box-like set – in which a fireplace is spun round to become alternately a ferry, a train carriage, and a restaurant – keeps the pace moving nicely.” Rachel Halliburton, The Arts Desk

“The Finborough continues to champion long-forgotten gems with this revival of Jeannie.” Siân Rowland, London Pub Theatres

Previous Reviews for Jeannie

“One of the easiest, sweetest of light comedies.” James Agee

“As enchanting a bit of rue and nonsense as we’ve succumbed to in many a month…. Jeannie is pure comedy of 
character. And what refreshing comedy it is!” The New York Times

The Press on Nicolette Kay's Production of Love Child at the Finborough Theatre

★★★★ “This sensitively handled, beautifully calibrated chamber piece…Highly recommended…Nicolette Kay’s gripping but measured production.” Fiona Mountford, Evening Standard

“Nicolette Kay’s production is sensitive and well paced…The performances are faultless.” Sam Marlowe, The Times

The Press on Nicolette Kay's Production of Mary Stuart at BAC

“Nicolette Kay directs the often exhilarating proceedings…a production of character” Brendan O’Keeffe, The Guardian

“Excellent performances and some stunning moments of violence.” Owen Slot, The Independent

“Meticulous acting” Andrew St George, Financial Times

27 November - 22 December 2018

Tickets and Times

Tuesday 7:30pm
Wednesday 7:30pm
Thursday 7:30pm
Friday 7:30pm
Saturday 3:00pm
7:30pm
Sunday 3:00pm

Approximately two hours with one interval of fifteen minutes