Coming home from The Lowry theatre last night, my designated plus 1 in theatre and basically life, told me the story of the snail and the ginger beer.
It’s a little like the owl and the pussycat. Well actually nothing like it.
The snail and the ginger beer was the court case Donoghue v Stevenson, which was heard in the House of Lords. In summary (more details can be found here), in 1928, Mrs Donoghue was quietly drinking her bottle of ginger beer in a café in Paisley. In a departure from the classic ‘waiter there’s a fly in my soup’, Mrs Donoghue fell upon a dead snail in the bottle.
Upon seeing the decomposed snail float out of the bottle into her glass, Mrs Donoghue duly felt ‘ill’ from the sight, complaining of stomach pains. A subsequent diagnosis was given by Glasgow Royal Infirmary of gastroenteritis and shock.
In short, the case went to the highest court in the land and became a legal first when Mrs Donoghue successfully sued the ginger beer manufacturer, Mr Stevenson, in that he owed a duty of care to her which was breached. To quote lovely old Wikipedia , ‘this was an evolutionary step in the common law for tort and delict, moving from strict liability based upon direct physical contact to a fault-based system which only required injury’.
And so from here a thousand hot apple pies did scald a thousand fast food consumers, resulting in a thousand court cases. You get the general idea.
My plus 1, whilst generally a font of all knowledge, did actually have a point to this molluscesque (the word is patent pending), account. It was the tale of a seemingly insignificant occurrence leading to a landmark case and legal judgement, which brings us to Terence Rattigan’s The Winslow Boy.
Playing at The Lowry Theatre until this Saturday 14 April, the play tells the story of young Ronnie Winslow (Misha Butler), who has been expelled from the Royal Navy College, for stealing a five shilling postal order. Set in 1910, his parents Arthur (Aden Gillett) and Grace (Tessa Peake-Jones) are devastated by events.
His father is determined to clear his son’s name and, risking his family’s reputation – financially and socially – and with significant consequence to the lives of both his daughter Catherine (Dorothea Myer-Bennett) and eldest son Dickie (Theo Bamber), enters the realms of national scandal along the way.
Based on the real-life landmark case – Archer-Shee v the King (1910), the play is a snapshot of Edwardian London and the social and political landscape of the time.
Daughter, Catherine (Bennett)is a delightfully intelligent force to be reckoned with, references to her membership of the Suffragette movement displayed both explicitly through the dialogue and demonstratively through her steely determination, and progressive thinking and attitude to both the case and in her relationships.
Stylistically, the set is simple yet attractive, all acts playing out in the family’s drawing room, the subject matter and action punctuated with humour (special mention to Soo Drouet’s Violet the maid)…
and, what may not have been written as knowing nods to how society was to evolve, some humorous moments found from scenarios such as the novelty of a female journalist turning upto the house (Miss Barnes played by Sarah Lambie) – who, there to write about the case, becomes distracted by the finer details of the curtains hanging in the drawing room (it should be worth noting that this was the press night performance, one or two female journalists seated in the audience – the scandal!).
What was mostly an ensemble cast (although look out for the delightfully and seemingly dastardly Sir Robert (Timothy Watson), the play kept me captivated by its clever, rapid and witty dialogue and delivery, and I would recommend you book for what is an evening of historical and social insight (and, not least, top notch theatre).