Spike Heels

Spike Heels, the first full-length play by prominent American writer Theresa Rebeck, was written in 1990, and is now over 30 years old. It still has a lot to say to our confused society. ‘You guys,’ calls lead character Georgie, in her usual shouty manner, ‘for all you know, you don’t know shit!’ 

Georgie is attempting to enter (all-male) society by the front door. Dressed to kill, with glamorous but highly uncomfortable spike-heeled shoes to the fore, the earthy, determined woman has a job with much-fancied Criminal Defence lawyer Edward. Meanwhile she’s receiving lessons from her flat-mate Andrew, a Professor of Political Philosophy at a local college, on what to say and how to say it. She’s a modern version of Shaw’s Elisa Doolittle, ready to break out into loud, expletive-laid riffs at a moment’s notice.

And in the hands of Jessica Saras she certainly brings the audience to wrapt attention. Looking very much the part in an off-the-shoulder dress and those afore-mentioned shoes, she bullies her way into our complete acceptance of her as a force of nature. There’s nothing this woman couldn’t achieve, if only the men in her life would accept it, and Ms Saras makes us believe it.

Along with this small miracle of acting, Joshua Horwitz is excellent as Edward, the black-braced lawyer, swaggering one minute and pleading the next. Antony Press plays the young professor, eager to tutor the girl and introduce her to the right writers and thinkers. And Kate Hardy plays Lydia, only appearing in the second act, but vital to the whole scheme of things.

But what a battle the actors have to wage to make us believe in them. The theatre itself is hardly the most comfortable, the settings (two differing versions of the one Boston apartment) are almost non-existent, the props are minimal and the sound and lighting are barely acceptable. The audience is invited to work hard to make this play work but, on the opening night, we certainly did.

Frank Hatherley