Adapted by Jay Presson Allen

Directed by Phil Wilkinson

What a vibrant and darkly carried choice in Leitheatre’s final performance for 2024, with the grimly satirical and remarkably clever The Prime of Miss Jean Brodie. Utilising some exceptional characterisation and comedic beats, their staging of Jay Presson Allen’s 1966 play turns the charismatic English teacher into a starkly authentic production of her influence and tightly gripped control over her school pupils she deems ‘worthy’.

Initial thoughts of the period school-based drama are shortly lived, as the righteous nature of Brodie’s character, and the undercurrents of the systemic proselytization, begin to ripple through the initial ripples of an almost quaint, even beloved, period piece. Self-indulgence and the abuse and manipulation of status all rule throughout a story which, taken a degree too far in either direction, would taint the otherwise perfectly crafted narrative and storytelling. And kudos to Leitheatre, with Phil Wilkinson’s direction, for capturing The Prime of Miss Jean Brodie in all its detailed brushstrokes.

More terrifying still is the smoothness in which Allen’s adaptation of Muriel Sparks’ novel makes the character even more tangible: Susan Duffy effortlessly slips into a command of manipulation, abuse, and fascism more concerningly terrifying than an out-and-out villain. Their characterisation keeps a steady beat for even the most dialogue-intensive scenes – Miss Brodies’ grand imagination and farfetched moments still maintain a comedic, even elegant air while Duffy’s presence controls the stage without aggression. A fascinating character, one so often overlooked for its cultural impact, Duffy captures the nuanced characterisation of a central protagonist who is, frankly, equally her own antagonist.

Not alone, the tale’s rogues come in various ages and styles. But they’re all played with a pitched tone of comedy, sleaze, and a painfully accurate sense of gaslighting and lust for control and reclaiming one’s former glory. Pat Hymers turns in a revoltingly sleazy, though somehow still engaging performance of Teddy Lloyd, arts master. Their scenes with Duffy, and mirrored, twisted moments with any of the young girls are carried well, despite the occasionally off-putting context in which we find ourselves.

And an extra moment of credit to Wilson’s direction which doesn’t shirk the more distressing moments, staging them tastefully for full impact without pushing the envelope of taste. Not all bad’uns however as Tim Foley’s singing teacher Gordon has all the conviction of a flinching, cowering man under the thumb of Brodie’s influence. Ruth McLaren makes a necessary comedic departure with the stern headmistress Miss Mackay, usually one step behind Brodie in her attempts to oust her.

There’s little wondering why Brodie chooses these ‘little girls’ as her special pupils, given the commendable role the four contribute throughout the production. Sammi Watson (Sandy), Alisa MacLean (Jenny), Chloe Law (Monica), and Charlotte Dickson (Mary) are entirely committed to the production, even in the more intense and intimate moments which may put off other younger performers. And though Watson has more to grasp and chew on through the story, offering a thoroughly whip-cracking and sharp performance with a shrewd and confident finale with Duffy, primed with venom and grit. Law and MacLean showcase their transition through grassroots companies and into talented young performers with relish, growing from strength to strength.

Though the transitions of scenes can become choppy as the story shifts from school grounds to galleries, or into Teddy’s studio (complete with chaise longue), Wilson bulks out the production with a supporting cast to offer a welcome sense of scale. Opening, and closing with a sincere performance from Lynne Morris as the story weaves through the generations and decades.

Well carried, the more unsavoury elements of the production appropriately hit their unpleasant mark, while solid performances and projection ensure a sense of enjoyment and appreciation from audiences for the immense talent involved. This tricky and often subtle script is readily embraced by Leitheatre, save for a few dips in pacing, and makes for one of the team’s strongest successes of the year – a high-quality send-off to 2023, laced with bite, satire, and buttered with enough comedy to smooth the distasteful.

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