As the UK braces itself for a second national lockdown and my plans for theatre this month (and let’s be realistic, probably longer) have been scuppered and the industry is again plunged into uncertainty, I’m once again reminded of my relationship with theatre as it’s moved from in person to digital. I definitely feel like my horizons have broadened as it has allowed me to see things I wouldn’t normally be able to see. Such is the case with Steven Carl McCasland’s play Little Wars, presented in this “rehearsed reading” produced by Ginger Quiff Media, Guy Chapman and the Union Theatre in London.

The year is 1940, and in their salon in France, literary giants Gertrude Stein and her girlfriend Alice B Toklas are throwing a dinner party. In attendance are Lillian Helmann, Dorothy Parker and Agatha Christie. As wine flows and opinions are shared, the threat of war undercuts proceedings, as an unexpected guest in freedom fighter Muriel Gardiner and the young maid Bernadette prove that the stakes are higher than anyone dare imagine.

I’ve always loved plays like this, that focus intimately on a group of people, relationships and what makes them tick. McCasland’s writing is full of wit (I laughed out loud on numerous occasions, notably at the early exchanges between Stein and Hellman and Christie’s proclamation that she walks in the door and intrigue follows her!) yet is always careful to handle the darker aspects of the play with great sensitivity and tact. At it’s core, the piece for me is essentially about community and what good can come if we are willing to take a stand and use our voices, hence it becomes poignant, relevant & incredibly powerful, anchored by seven amazing women; its message proving to be incredibly cathartic!

Catherine Russell is a delight as Toklas, a warmth and sweetness to her portrayal that contrasts beautifully with Linda Bassett’s forceful yet infinitely endearing Stein: even from my vantage point in front of my laptop, the chemistry between the two feels palpable and deftly judged.

Debbie Chazen brings a tantalising frenetic energy to Parker that makes the moments where she opens up about some incredibly difficult experiences in her life all the more heart wrenching.

Juliet Stevenson’s Lillian is rather cold and aloof, but strikingly so: I found myself warming to her more and more strongly as the play progressed, as more of her layers stripped back.

Solemani’s “Mary” is always engaging: spirited, focused and courageous, Thompson’s Christie is all resilience and incredibly perceptive. As Bernadette, Karp showcases a tender fragility that drives home the looming threat. It’s a painful watch at times given her story and the wider context of the play, but the emotional payoff is worthwhile: I left wanting to know more about these women and their work. There’s discussions about art and its place, the nature of womanhood, being a writer and everything besides, and it’s wonderful to see each character get equal screen time, and I could see so vividly the potential for a transition from screen to stage one day (here’s hoping!) as this reading felt so vibrant and evocative under Hannah Chissick’s direction.

In one of my favourite quotes from the play, Toklas remarks: “the luxuries of art seem a trifle selfish these days”, a quote that resonated with me for it’s timeliness in light of where we find ourselves right now; but with a cast like this, I beg you to indulge!

Proceeds from ticket sales will aid Women for Refugee Women so buy a ticket & know you’ll be supporting an amazing cause.

Little Wars is now streaming through lockdown until Dec 3rd. Tickets can be booked here.