Keeler (The Profumo Affair) at Richmond Theatre

I am a child of the 60s with distant memories of “the Profumo affair”. I liked the film “Scandal” so much that I hassled my then husband to take me to stay at Cliveden in Berkshire so that I could experience something of the magic of being amongst the Astors. The place is beautiful, tasteful, timeless and makes you hold yourself with quiet dignity and elegance. The cottage by the riverside, where the affairs took place, sits innocently guarding its secrets on the banks overlooking the tranquillity of the Thames.

So I was intrigued to know whether the play evoked that same sophisticated atmosphere. Alas, there was no romance or elegance in this production. It was a “hit you between the eyes” slap of the overt exploitation of the lower class by the upper class and by those blessed with beauty, youth and freedom of those carrying years and heavy responsibilities.

The play opens with the instantly recognisable Lewis Morley photo of Christine Keeler, naked on that chair and Christine’s voice explaining what people might see when they consider the girl and the situation.

Then we see Christine Keeler (played well by Alice Coulthard who appeared to balance fragile vulnerability and innocent trust with knowing manipulation using the power of her sexual allure) and other showgirls in their dressing room talking about the men who watch the show. We are introduced to the first of a number of risqué showgirl dance routines – some of which seemed gratuitous – to drive the point home about the simple roots of these girls and their early acceptance of using their bodies to generate attention and money.

It was a shock to see Paul Nicholas in a straight role, talking with a clipped upper class accent (which he did rather well) when I still remember him as the sunny hero of much loved situation comedies. But you quickly get used to his new persona. And I think he has rather improved with age.

The first half seemed a little laboured, although there were several poignant moments when I felt pity for Keeler as she was encouraged to dance on tables, entertain particular men and do things that you could see she was clearly uncomfortable with. My colleague felt that the portrayal of Lucky and the Notting Hill club and drugs scene lacked authenticity, but I didn’t agree having grown up near there.

I thought Alice was rather brave to perform the naked swimming pool scene although she certainly has a body that she should be proud to display. And it is impossible for me not to comment on the impressive muscular tones of Andrew Grose who played the Russian attaché Eugene Ivanov as he strutted around the stage in his swimming shorts. And I am sure that I heard some of the audience gasp at the scene where Keeler has sex with Profumo on Stephen Ward’s sofa. Difficult scenes tackled professionally, confidently and convincingly where the actors’ skills made up for some of the play’s weakness.

I wasn’t entirely convinced by the script – at times it was clunky and jarred, for example there was one line by Ward about ”having a finger on the pulse of the establishment” which felt clumsy when otherwise he was portrayed with inscrutable silky smoothness.

The pace quickened in the second half – and the Court scenes and statements in Parliament were interspersed with real images of Cliveden and from the media at the time. It certainly made me think about things – was Ward just another star stuck celebrity hunter seeking the attention of the rich and powerful? Or was he a fixer with a reputation for securing innocent young girls who paid with sexual favours to associate with high profile and wealthy figures? Or was he a pimp – motivated entirely by immoral earnings - as the case suggested? The Mi5 references were explicit in this version and it was clear that some thought his actions were entirely political – did he set out to topple the British Government and the Kennedy administration?

Throughout the production I admired the fashion and outfits – pretty little shift dresses, sparkly cocktail frocks, Kennedy influenced cropped cardigans and always those very high heels. The era was further referenced with frequent clips of well known 60s artists – the Beatles and Elvis - and songs such as La Bamba and Big girls don’t cry.

So it was interesting to watch and I did feel drawn into the story and empathy with the characters despite some of the weaker aspects of the production. I suppose the most interesting observation was how a relatively lowly 18 year old girl who has sex with both a married senior political figure as well as a Russian could cause such a media furore and major political storm. Especially when you think about some of the things that today’s politicians appear to get away with. Sexual scandal – especially when blended with politics and celebrity – still sells.