The KILLING of SISTER GEORGE by Frank Marcus Director: John Mills Colne Dramatic Society I had been looking forward to seeing Colne’s production of The Killing of Sister George, as I have been a fan of this play for some time. Although billed as a comedy on the front of the programme (it has been described as comedy/drama and as a farce elsewhere), and certainly not lacking in humour, the themes of this play remain dark despite the passing of time since its creation and the changes in society that might make some if its content less shocking to a modern audience. Less shocking now is the implied romantic relationship and attraction between the three main characters, whereas the complexities of these feelings (love vs. obsession and possession), the ethics of the relationship power dynamics and, (as director John Mills reflects on in the programme) the “untouchable” attitude of the famous leading to reprehensible behaviour, continue to create feelings of discomfort in the audience. A play that makes you think and question these things, at times being able to witness multiple perspectives and sympathies, is my favourite kind of play, so I knew I was in for a treat. Although the play was set in the modern day with some recent cultural references to emphasise this (e.g. covid and Pokemon), there were still several “cap tips” to the 60s era when the play was written. Richard I’Anson’s colourful light projections onto the curtain before the play began and the wonderful decoration of the flat set really created that 60s mood. I was particularly impressed by the creation of two-levels and the detail given to the décor – the wallpaper was especially fabulous, as was the dedication to sourcing so many rather creepy-looking dolls: hats off to set constructors Andy Belwood, Dave Brown, John Mills and Richard MacSween, set decorators Susan Ellison, Susan Hartley and John Mills, and Hilary Roche on Props. However, keeping the language true to the script, meaning that some of the words and phrasing (particularly when June gave her string of insults about Mercy or some of her put-downs to Childie) sounded unnatural and
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