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In this tight two-hander, playwright April De Angelis distils the tumultuous life of Lady Emma Hamilton down to two periods \u2013 the start of her affair with Nelson in Naples, and her decline and death aged 49 in a hovel in Calais.<\/p>\n
The trick of Michael Oakley\u2019s minimalist production is that Caroline Quentin and her daughter Rose share the role of Lady Hamilton.<\/p>\n
Rose\u2019s Emma is a voluptuous, heartless wild child who has bedded her way to a position of power and influence.<\/p>\n
The disapproval voiced by her mother (QuentinSr) about her daughter\u2019s indiscretions derives less from moral probity than a potential loss of income should a scandal erupt.<\/p>\n
In the second act, Caroline plays the still-delusional Emma like a Blanche DuBois, while Rose is Emma\u2019s unacknowledged daughter Horatia.<\/p>\n
READ MORE <\/strong> A Golden start for the Royal Opera season – Das Rheingold review<\/strong><\/p>\n The dialogue consists largely of exposition and occasional arguments which leave very little room for dramatic conflict or suspense.<\/p>\n Only the intermittent arrival of Riad Richie as a servant\/soldier creates anything like a change in theatrical colour.<\/p>\n A glittering shawl is a talisman throughout, used by Emma in her diva-like \u2018Attitudes\u2019 in which she entertained her lovers with erotic tableaux of goddesses and mythical characters.<\/p>\n Fotini Dimou\u2019s ingenious set of folding panels is worth noting. It is a pity that there isn\u2019t a better play to do them and the actors justice.<\/p>\n![](\"https:\/\/cdn.images.express.co.uk\/img\/dynamic\/38\/590x\/secondary\/4973252.jpg?r=1695393435766\")
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