Infamous review

While Rattigan takes a wider view of Lady Hamilton’s fortunes, De Angelis focuses on her more intimate female relationships. In doing so, the author exposes the desperately bleak options available to women at the time. Her Emma is ambitious, delusional even, but falls into the age-old trap of believing her own publicity. An excellent Rose Quentin as the young Emma is spoiled, ruthless and yet oddly vulnerable: groomed to believe that her beauty could make her fortune, and heedless of its brevity. 

Caroline Quentin’s performance, meanwhile, has all the pathos of a classic tragic clown. In widow’s weeds with her bonnet slightly askew, she bustles in as Mrs Cadogan, out of sorts with her gracious surroundings and the butt of Emma’s jibes. She is the constant, nagging reminder of Emma’s humble origins. Quentin subtly exposes the sadness and fear just beneath the surface of practically every laugh. In the second half, posing and preening as the ageing Emma, she delivers more comedy – yet the laughs are easily outweighed by the iniquity of her situation. It has whittled away at her sanity and her daughter Horatia (Rose) can no longer cope. Will she follow her mother’s lead and use her femininity to gain money and stability?

De Angelis’ conclusion makes for a tidy, if vaguely insubstantial, ending in an otherwise emotionally adroit and often very funny play. Oakley’s thoughtful, intimate production is perfectly pitched, and the mother-and-daughter casting is a genuine coup, bringing an extra layer of authenticity to the relationships.