It is 1755. The scene is set in a wretched hovel in London. The notorious Charlotte Charke, once a celebrated actress, has fallen on hard times and is desperate to interest speculators in buying the copyright to her new novel. She invites them to a private auction and solicits bids whilst revealing secrets from her own life in a captivating and often comedic chronicle.

Charlotte Charke was a real person of infinite interest. Her father, Colley Cibber, was the leading British actor of his age. He was also a playwright and Poet Laureate. Charlotte herself managed some success and fame in the establishment theatre of her father but gave way to spells in the “fringe” theatre of her day, moving swiftly from “tour de force” to “forced to tour” as her career and life of privilege descended into destitution. She took to wearing male clothing and became publicly known as Charles Brown. She unsuccessfully tried various jobs associated with men such as valet, sausage maker, farmer, and tavern owner. Eventually, under her own name Mrs Charlotte Charke, she found success as a novelist and memoirist until her death in 1760.

Her indomitable spirit is remembered here in Frederic Mohr’s one woman play which paints an enthralling picture of 18th Century British Theatre and the wider society of the time, with a powerful and timeless tale of survival at its core. But beware. This piece pulls no punches and, as Charlotte herself attests, it is “a moral tale, good wholesome stuff, but covered over with more piquant sauce than a Frenchman’s banquet; warm and pungent as a doxy’s bush.”



THE AUTHOR

Frederic Mohr was the pen name of the late actor David McKail. As a playwright, he was celebrated for his series of six one person plays – of which Acting Up was the last example. Mohr’s one person plays have been seen throughout Britain and in the USA. Bozzy and Garden Notes have been broadcast on BBC Radio, The Admiral Jones has been released on video and Hogg: The Shepherd Justified played as part of the official programme of the Edinburgh International Festival. All six solo plays are closely based on the lives of actual historical characters and were scrupulously researched. However,

Mohr reworked the material by imagining how his subjects spoke rather than recounting what they wrote. As a result, he created vital dramas rather than literary events.

REPRESENTATIVE REVIEWS

"Must not be missed… It is stunning… Maureen Beattie positively dazzles in this cracker of a one-woman show which is a powerful affirmation of the strength of the word, especially when given live representation by a talented, committed performer… Beattie positively revels in Mohr's beautifully turned script… The atmosphere generated becomes electric, as we witness one of Scotland's finest actors working at her best, getting her teeth into a meaty role." (The Scotsman)

"A familiar story, and one which Frederic Mohr's one-woman vehicle for Maureen Beattie invests with a passion borne out of his own acting experience… Beattie captivates one's attention." (The Herald)

"Her enthralling solo performance completely captivated the Mayfest-mad Citizens audience… Even if Miss Beattie was trudging on about the cost of a loaf I would still have been transfixed at her ability to make everything a theatrical occasion or event… Miss Beattie ensured it [the play] hit the top." (East Kilbride News)

“A spicy record… The writing has cockiness and ego… An intelligent script… You will be enthralled.” (The Stage)

"Hilariously, and at times quite movingly, brought to life by Maureen Beattie in a full-blooded performance that had the audience spellbound. It's a performance that deserves to repeated beyond Glasgow and MAYFEST." (Plays International)

PHOTOGRAPHIC CREDIT

The photographic material used in this publicity was the work of the late Sean Hudson. Every effort has been made to discover the copyright holder for his photographs but to no avail. If such a copyright holder were to contact us, we would be pleased to discuss the use of the photographs.