The sets, music, costumes, and lighting of the RSC’s version of Thomas Dekker and Thomas Middleton’s play, “The Roaring Girl” contribute to an open environment, in which the characters give each audience member the intimate and soul bearing message to be themself. In simpler terms, the play tells audience members to let their freak flag fly. This was not what I got from simply reading the play. When I originally read the play, I liked it, but thought it was just a feminist piece promoting equality for women through Moll dressing and behaving like a man. The choices director Jo Davies made changed my viewpoint and allowed me to understand that this play is a lot more inclusive than this. It is about making your own life decisions based on what is best for you and about expressing yourself in whatever way makes you happy, whether that be marrying a girl against your fathers wishes, making out with other men (if you are a man), or even dressing like a man. This is mainly shown through Moll and Jack Dapper’s costumes. The lighting also communicates how isolating this lifestyle choice can be, while suggesting being true to yourself is more important than being completely understood or accepted by others. The fact that this version took place in the late 1800s, yet had modern touches, suggests the idea of being a “roaring girl” is still relevant today, while the intimate nature of The Swan Theatre helps communicate this message to the entire audience.
From the very start of the play, the lighting sets a feeling of intimacy between the cast and the audience. Opening with a spotlight following Moll throughout the prologue encourages each audience member to focus solely on Moll and forget that other audience members surround him or her. For me, it was as if Lisa Dillon was speaking to just me. This lighting appears again at the end during the epilogue and once again encourages the audience member to listen carefully to her words. I thought these lighting choices were spot on and helped communicate how truly isolated and seemingly lonely her life is (though the presence of Annie, Moll’s maid, lessened this feeling of isolation).
The costume choices for Moll’s character were quite memorable and overall showcased an entire spectrum of female clothing. Opening the play with her speaking the prologue in a pair of tight fitting pants illuminates the extent to which the director emphasizes the androgyny of Moll’s character. The pants allow her to climb over the metal gates of the set, which contributes to her rebellious nature and sense that she is an active, rather than a passive, character. Because of the pants, she is also able to sit with one leg on the ground and another hanging over the chair, in turn putting her crotch on display for the audience. Though unconventional, this sitting position reveal a lot about Moll. It shows that she does not care about what others think of her, as she does not feel the need to sit in a ladylike position. It also reveals how Lisa Dillon plays a very open Moll Cutpurse, as she is physically opening up her body to the audience.
Moll then wears a nicely tailored top and a flowing pair of pants that look like a skirt until she lifts one of her legs. This affects the way I viewed Moll’s character. I no longer think she dresses like a boy to have the power of a man, like I did previously; instead it makes me think she is trying to be herself and have the freedom that men in her society have. This feminine edge is then erased completely when she wears a man’s suit and draws on a beard. In this, she shows that a woman can still be a “roaring girl” by dressing like a man. Next, Moll appears in a wedding dress, showing another side of the “roaring girl.” Though a lot of people have a problem with how traditional the gown is, I think the dress shows that “roaring girls” come in different forms, from girls who like to dress in traditional dresses, to those who like to wear studded leather pants. Finally the red, corset-style top and tight fitting pants Moll wears shows a different blend of masculine and feminine, this time in a sexualized way. Originally I had a problem with this costume decision. I felt that the corset was too sexual. But after thinking about it, this costume choice is fitting in the play for two major reasons. First, Moll does what she wants, meaning she does not care if others find her outfit scandalous. Secondly, the rest of the play is sexualized as well. From Trapdoor making a sex motion with his hands when he says the line “your son and her moon will be in conjunction” in Act III, Scene III, to Mistress Gallipot getting on her knees in front of Laxton in Act III, Scene II, this play had plenty of sexual innuendoes. Which made me wonder, why can Lisa/Moll’s costume not be sexy too? Overall, I thought the various costume choices show the different ways one can be a “roaring girl,” which would not occur if Moll wears pants the entire time.
Ian even had makeup residue from the play still on him at the pub
Jack Dapper, played by Ian Bonar, also has “freak flag” promoting costumes. Throughout the play Dapper wears a flamboyant peacock feather in his hat and even wears blue eye shadow. These accessories and makeup contribute to the play greatly, in that his character is able to mirror Moll’s in many ways, making him into a sort of “roaring boy” figure. Like Moll he seems to not care what those around him think of him, he simply dresses in what he prefers, which tends to be more eccentric. His outfit, along with Moll’s, contributed to the “let your freak flag fly” motto that the play represents. He and Moll were also playful in a way that opened up their characters to the audience so that the audience could feel more comfortable interacting with the actors, in turn allowing the audience to connect personally to the play.
This connection and communication of a message to the audience was also emphasized in the music throughout the play. Most notably, the Beyoncé song, “Run the World (Girls)” communicated this idea of female power, which, as a feminist, I appreciated. However, I thought this could have been better communicated. I believe this song is isolating to the males in the audience who otherwise would have felt included in the plays message. Prior to the song I understood the play to mean, “This above all, to thine own self be true” (even though this quote is from Hamlet, Act 2, Scene 2). So by including this song, the entire underlying message is thrown off. In my opinion, the Katy Perry song “Roar” would have been a better fit, as it is about finally speaking up for yourself, and even includes the word roar in it.