Joan Eardley: A Private View

The London-born artist Joan Eardley, who settled in Scotland to study and whose artistic career was cut short when she died—aged 42—in 1963, is best known for two very different subjects of her painting: the extraordinarily candid—albeit, at times cartoonish—portraits of the “weans” (young children) in the long-since demolished Townhead area of Glasgow, and the landscapes and seascapes from the small fishing village of Catterline, just south of Aberdeen.

The result is undoubtedly one private viewing which fully deserves to receive as wide a public audience as possible.

However, with no two venues being the same—either in size, style or layout—there seems little point in focusing particularly on the promenade aspects of the production; not least because, on the evening of this review, the show had settled briefly in the Hawthornden Lecture Theatre within the bowels of the National Gallery of Scotland in the heart of Edinburgh—as near a traditional seated venue as you can get without being a theatre. So instead of the audience following the cast around, the cast ran around the audience, not least as happy-go-lucky kids singing naughty songs.

Joan Eardley: A Private View is the latest of seven plays written by Anna Carlisle for Heroica Theatre Company, supporting the company’s goal to celebrate the lives of “maverick and unsung women”. Admittedly, the extent to which Eardley herself fits this bill is open to debate; she’s hardly “unsung”, while the only obvious “maverick” aspect of her life would be her sexuality, although the word “lesbian” is used only once, and in relation to her aunt. The title remains apt, however; you leave this production with a real sense of having met the woman, and glimpsing her life and soul.

This is thanks to Carlisle’s restrained script and a nuanced performance by Alexandra Mathie; thanks to both we experience the modest yet passionate woman whose passion for painting was to “capture the moment of ecstasy”. Mathie is ably supported by John Kielty and Ashley Smith, who between them play the small group of life-long friends. The result is undoubtedly one private viewing which fully deserves to receive as wide a public audience as possible.

Reviews by Paul F Cockburn

Multiple Venues

Showtime from the Frontline

★★★★★
Traverse Theatre

The Last Bordello

★★★★
The Lyceum

The Belle's Stratagem

★★★★
Perth Theatre

Knives in Hens

★★★★
The Lyceum

The Lover

★★★
The Studio

The Tin Soldier

★★★★

Performances

Location

The Blurb

Anna Carlisle’s ground-breaking new play celebrates a gifted life stopped in its prime and will give audiences an opportunity to spend time in the company of a great painter as she makes her way through a life of joys, frustrations, disappointments and triumphs. In this compelling and moving promenade production, audiences will come to understand what it was that fired Joan Eardley: they will hear the voices of her cherished Samson children of Glasgow and the sounds of the Catterline storms. They will feel as if they are almost standing in the waves and cornfields with her, and experience for themselves the overwhelming impact of her finished works.