Written by Katherine Moar and directed by Josh Seymour, Ragdoll is a clever commentary on the social climate of the United States with privilege, power, and fame at its heart. Inspired by the 1976 legal trial of Patty Hearst, an heiress who was kidnapped by the Symbionese Liberation Army and convicted of robbing a bank for them, Ragdoll offers a glimpse into Hearst’s experience through the lens of Holly, based on Patty, and Robert, based on lawyer F. Lee Bailey. We’re immediately introduced to Robert, once a hotshot lawyer who is now facing his own shortcomings, and heiress Holly, a former client of his, meeting in his home 40 years later, setting the scene for an unknown yet palpable tension that hangs between them.
We jump between the past and present dynamic of Holly and Robert, in 1978 during Holly’s legal trial for robbing a bank, and in 2017 at Robert’s California home, with every new scene offering glimpses into their dynamic and relationship as the truth behind their tension unfolds. Sparks fly between Abigail Cruttenden and Nathaniel Parker as present-day Holly and Robert – and not the good kind. There is an obvious underlying cause of tension which is slowly revealed throughout the course of the play; an unbeknownst history that is brought to life by Katie Matsell and Ben Lamb as past Holly and Robert. Matsell and Lamb are exceptional in their roles, delivering a compelling performance as the deluded, naive 19-year-old version of Holly, and the younger, more boozy, ego-driven version of Robert, respectively. Cruttenden and Parker are effortlessly brilliant in their portrayals of the older Holly and Robert, weighed down by their intertwined dynamic. It is a thought-provoking play that explores the social condition of these two characters, following them as they gain and lose perspective on the last 40 years.
Bringing the two versions of Holly and Robert on stage together towards the end of the play is a brilliant means of connecting the two swirling narratives of past and present, with all four characters attempting to make sense of how they end up in their present situation while reflecting on their past. The tables have turned and Robert is in legal trouble of his own, facing allegations of what we assume is sexual misconduct, which he invites Holly to help pull him out of. Their past catches up to them, culminating in an outburst filled with emotion and enmity with both versions of Holly and Robert yelling at one another, even turning on themselves at one point, which is both gripping and entertaining.
Plays that are inspired by real-life events will either grip me from the start or fall flat, and Ragdoll had me from the get-go. This is an incredibly well crafted play, filled with grit, humour, thoughtfulness, and plenty of cultural references. Bravo to Moar for writing this fantastic play, and to Seymour for his excellent direction. My only qualm is that I was sat with a restricted view, which was frustrating when I could hear the dialogue but not see the interactions. Fortunately, this did not happen more than a handful of times, but for a play that is 75 minutes in length and relatively fast-paced in its dialogue, you don’t want to miss out on a single facial expression exchanged between the characters – especially not these two (or four).
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