• Machinal

Machinal
Wed 12 April to Sat 15 April 2023

4 performances
Hampton Hill Theatre, United Kingdom

Machinal is a 1928 play by American journalist and playwright Sophie Treadwell and is inspired by the true story of a woman who murdered her husband; this woman, Ruth Snyder, was subsequently the very first female to be executed using the electric chair. Treadwell’s expressionist drama suggests that Snyder’s actions are the result of the stultifying and repressive role forced on women by society as she elevates the story to a broader view of the objectification of women in the early part of the 20th century. The female characters are simply identified by their jobs - this helps to portray women as subjected to the often brutal, mechanical demands of society, a society created by men, for men. The dialog is staccato-paced and filled with clichés and repetitions; and the plot of the story is episodic, with each episode representing a mode of female repression. In this manner, the young woman, Helen, becomes an everywoman.


Machinal
by Sophie Treadwell

Written in 1928, Machinal is a groundbreaking expressionist play that explores themes of oppression, societal expectations, and the suffocating constraints placed upon women. Inspired by the real-life case of convicted murderer Ruth Snyder, the play follows a young woman trapped in a mechanical, impersonal world that dictates every aspect of her existence.

Forced into a loveless marriage by social conventions, the protagonist struggles to find meaning in her stifling, monotonous life. As she suffocates under the pressures of conformity, she seeks escape through a passionate affair that briefly offers her the illusion of freedom. However, when her desperation leads her to commit a shocking act, she is swiftly condemned by the very system that shaped her.

Through fragmented dialogue and stark, repetitive imagery, Machinal paints a harrowing picture of societal control and individual desperation. A masterpiece of expressionist theatre, the play remains a powerful indictment of a world that leaves little room for autonomy or personal happiness.

Review by Heather Moulson for Mark Aspen (April 2023)

When it opened in New York in 1928, Machinal featured a young actor making his Broadway debut, Clark Gable.  The play was a runaway success.  An early example of Expressionist theatre in the US, the play is loosely based on the trial of Ruth Snyder, who was convicted of murdering her husband.   It created a lot of attention in an era when a woman’s role was confined to being a wife, mother, and homemaker. 

With a bold painted set, designed by Tom Wright and Priya Virdee, of cogs and doors that symbolised turmoil, the production opened up to a New York office where the staff, like a Greek chorus, talked in a refrain as they bullied the secretary for being late.  

The Young Woman, on the verge of nervous collapse, accepts the company vice president George H Jones’ proposal of marriage, despite his leaving her cold.   The Telephone Girl, played by AJ Hill, was beautifully done with an authentic American accent and brash charm.  Plus we had the magnetic presence of The Filing Clerk, played by Richard Chadwick.  We hope to see more of these two actors. 

The Young Woman confronted her Mother, played convincingly by Olivia Meades, with the turmoil of the marriage proposal.   Meanwhile in the dimly lit doorway, there were vignettes of little dramas effectively done.  For her mother, marriage was the only way, and George H Jones, played by Ben Buckley, smoothly carried this boorish yet ultimately sincere man.  Buckley had a likeable and honest quality. 

The honeymoon was strained and the delivery room for their child shouted out post-natal depression.  A strong scene with the Nurse and Husband turning round the bed as The Young Woman voiced her doubts and confusion, was one of many highlights.  

The Speakeasy club featured tables poignantly telling of separate anxieties and sordid tales.  The lighting and music was moody, emphasising the dark subtext underneath.   Here The Young Woman met her lover, played slickly by Daniel Siner, who has very strong stage presence, and she discovered the joy of a love affair.  Issac Gabriel was also watchable.  However, I did feel the pace here slowed significantly. 

In Act Two, the dynamic came into its own as a plot to kill Jones was underway.  This was followed by a grisly court drama where Giothomson Nickson and Alfie Kennedy were strong and passionate as the Lawyer for Defense and the Lawyer for Prosecution.  However, The Young Woman breaks down and confesses, and the action concluded with the grisly ordeal of the electric chair.   This was disturbing and highly effective, with powerful lighting and sound playing a part.  The lighting by Jack Tidball and sound by Tom Allen captured just the right mood of the piece.

The leading role of The Young Woman was covered by Meaghan Baxter, Grace Allen, Stella Oliver, Issy Ali, and Leah Dawson, all of whom were convincing and each unique in their interpretation.  Much credit goes to the director Alex Farley for taking this young cast of 16 to 25 year olds to their full potential, and to Emily Moss for the classy and authentic costume design. 

Machinal is a grim tale taken on boldly by YAT, and it was successfully done in a remarkably strong production.

Originally published at Machinal | Mark Aspen

Cast
Role Name
The Young WomanMeaghan Baxter
Grace Allen
Stella Oliver
Issy Ali
Leah Dawson
George H JonesBenjamin Buckkey
Young LoverDaniel Siner
MotherOlivia Meades
Lawyer of DefenseGiothomson Nickson
Lawyer of ProsecutionAlfie Kennedy
Filing ClerkRichard Chadwick
Man at SpeakeasyIsaac Gabriel
Telephone GirlAJ Hill
JudgePeter Barton
Crew
Role Name
DIRECTORAlex Farley
STAGE MANAGERJack Tidball
ASSISTANT SMZoe Man
LIGHTINGJack Tidball - Design
Jason Evans - Operator
SOUNDTom Allen
WARDROBEEmily Moss
SET DESIGNERTom Wright
Priya Virdee
MOVEMENTRowan D'Albert
PHOTOGRAPHYJonathan Constant
INTIMACY CO-ORDINATORSarah Dowd
Elizabeth Lattimore
BOX OFFICEBill Compton