Navigating the Tightrope of Biographical Fiction: Caroline Bird on portraying Mary Whitehouse
Caroline BirdS new play, The Last Stand of Mrs. Mary Whitehouse, tackles a complex and controversial figure. It raises a crucial question inherent in biographical fiction: how much creative license is permissible when interpreting a real life? Bird approaches this challenge with careful consideration, establishing clear boundaries for her narrative.
She illustrates this principle with a compelling example: John Smyth, barrister for Whitehouse during a landmark obscenity trial, later accused of horrific abuse. Despite widespread knowlege of these allegations, Bird deliberately omits their exposure within play itself.
“The play is fundamentally from Whitehouse’s perspective, and she was unaware of Smyth’s actions,” Bird explains. “Fictionalizing her knowledge would have crossed a line I wasn’t willing to take.”
Though, Smyth’s case does serve a broader purpose within play. It highlights a disturbing pattern: abusers leveraging piety and charitable work as camouflage. Bird draws a parallel to Jimmy Savile, noting his purposeful alignment with Whitehouse.
“One of Whitehouse’s significant flaws was her tendency to suspect abuse everywhere, except among those who publicly supported her views,” she observes.
Balancing Ancient Accuracy and Dramatic Focus
Bird makes strategic choices about what to include and exclude to maintain dramatic focus.surprisingly, she omits Whitehouse’s attempt to prosecute Michael Bogdanov over a controversial production of The Romans in Britain.
“One trial per play feels sufficient,” Bird states. “Furthermore, issues surrounding The Romans in Britain differed significantly from those in Gay News case, and I wanted to avoid Whitehouse’s habit of conflating distinct situations.”
This careful selection mirrors a challenge faced by playwrights throughout history. Brenton’s Pravda (1985), featuring Anthony Hopkins as a ruthless media mogul, demonstrated how a captivating performance can overshadow play’s core message.
“That dynamic will be interesting to observe,” Bird acknowledges. “But I’m comfortable with it, because that’s precisely what Whitehouse excelled at – dominating attention.”
Acknowledging the Risks of empathy
Bird recognizes Whitehouse possessed a remarkable ability to influence people’s thinking. This presents a unique risk with play.
“It does feel like a gamble,” she admits. “A part of me fears someone with prejudiced views might attend and leave with those views reinforced, convinced by speeches I’ve written for her.”
Ultimately, Bird believes in trusting audience. She understands that presenting a complex character, even one with deeply problematic beliefs, requires faith in viewers’ ability to critically engage with material.Bird’s approach to The Last Stand of Mrs. Mary Whitehouse demonstrates a nuanced understanding of biographical drama. It’s a testament to her skill as a writer and her commitment to exploring difficult truths with both sensitivity and intellectual rigor.You can experience The Last Stand of Mrs. Mary Whitehouse at Nottingham Playhouse from September 5-27.https://nottinghamplayhouse.co.uk/events/the-last-stand-of-mrs-mary-whitehouse/
