7/30/2019 12 Pound Look

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'The Twelve Pound Look' is a one-act play written by J.M. Barrie, the 20th Century playwright bestremembered for the fantastical 'Peter Pan'. Nearing its centenary, 'The Twelve Pound Look' holds littlerelevance to contemporary day, but does humorously capture the inequalities between women and men,focusing on women's financial independence and thereafter.

Harry Sims (O' Mahony) is a vain, egotistic, successful barrister. His success and arrogance overshadow

his meek wife Emmy (Murphy). On the eve of his knighthood, the two repeatedly rehearse five motions thatwill define the worthy moment of when Harry will become Sir Harry.

Their charade is interrupted when a hired typist arrives to reply to Harry's congratulatory letters. EmmySims is the first to meet Kate (Moynihan) and she is astonished by the typist's ability and the contentedlook in her eye.

Then Harry meets Kate, his ex-wife as it turns out, who left him years ago for a mystery man. Her arrival'spoilt' his day, as he says, but the conversation they have will surely upset him more in the longer run.Harry uses the opportunity to find out who the mysterious man was. The truth - which often hurts, but heremanages to amazingly puncture Harry's ego for a time - is revealed by Kate. It would be an exaggeration tosay that Harry comes to a moment of self-realisation, more so, it is thrown upon him and spelt out to him

(typed, if you will) by the now assertive Kate.

Kate informs Harry of how he knows the cost of everything, but the worth of nothing. Harry is worth half amillion pounds, to himself, but to Kate he is worth twelve pounds - the amount she spent on a typewriter.The ensuing 'Twelve Pound look' in her eyes gave her the confidence to believe she could now beanything... even content.

Ultimately, this is an entertaining production furnished with comedy. The costumes and props befit the timebut sometimes the characters look rigid on stage restricted by space, not necessarily held back by talent.Just because it is a one-act play does not mean a small stage is suffice to its needs, especially when theprotagonist needs scope for his swaggers and melodrama.

O' Mahony previously played the title roles in 'Hamlet' and 'Edward II', with the Bristol Old Vic. In a way, hissuccess is his fatal gift here - as was Harry Sims'. O' Mahony portrays a tawdry, arrogant man but projectshis voice as if he were competing against ferocious winds. His mind is not in the Sims parlour (no matterhow ostentatious it may be) and is definitely not in the small and intimate Bewley's Caf Theatre. He needsa bigger stage, or a smaller voice.

This production gains nothing in a small theatre. Perhaps, its intention was for the audience to feel a part ofthe Sims' parlour room but this ultimately encroached on other aspects of the production. Otherwise, it is ahilarious and entertaining lunchtime regale.