Rogue Shakespeare’s one-woman show PRETTY, WITTY NELL is a captivating, theatrical and heartfelt retelling of the story of Nell Gwynne, actress and mistress of Charles II.

Clarissa Adele is commanding and entrancing in her portrayal of not only Nell but multiple secondary roles such as Cromwell, Charles II, and even his other mistresses. With simple props such as a crown, bottle of brandy or wigs, she morphs into different characters overly exaggerated for comedic effect. Her ability to switch instantly and magnetically back and forth between additional characters and Nell is masterful, often with only a more exaggerated facial expression and voice change signalling a shift in role.

In one scene Adele goes back and forth between Nell and other mistress Louise, resulting in hysterical laughter from an audience amused by her a comically high-pitched French accent and hysterical tears. Adele uses the entire stage, moving as if spontaneous.

Despite the script of entirely iambic pentameter, Adele’s delivery of lines feels natural and conversational, in a confessional chat with the audience as to the story of her life. There is no shortage of outrageous double entendres, bringing to life a bawdy, daringly confident personality. At the start the play feels somewhat oversaturated with over-the-top wordplays and suggestive gestures, until we see cracks in the overly humorous retelling of her story. While we are told quite bluntly at the start of the play that this is a story of not only Nell’s life but her death, we almost forget to expect notes of sincerity and tragedy during the chirpy impressions or nonstop innuendos.

The shift from warm to bleak and dull lighting signifies her more tragic reflections on her life, including discussions of her sexual exploitation, degradation due to social standing, and dehumanisation as a mistress. While not detracting from the show’s comedic appeal drawn from racy humour, the sincerity of Adele’s acting ensures Nell’s voice lives on. Lamenting the loss of her lover Charles II, she sits upon his throne, tears glistening as she recalls his deathbed wish vowing to protect her from beyond the grave, ‘let not poor Nelly starve.’

‘Pretty, Witty Nell’ is dressed up in bawdy and racy humour but places more emphasis upon reclaiming Nell’s story for modern audiences – no longer just known as mistress to a king, she is humanised.

‘PRETTY, WITTY NELL‘ has finished its Fringe run