Co-written by Vicki McKellar and Guy Masterson (who also directs), The Marilyn Conspiracy focuses on the last night of Marilyn Monroe’s life in 1962.
It takes a group of seven people close to Monroe, and for much of the play gets them to talk out what might have causes Monroe’s death. Officially, she died of a barbiturate overdose.
The Marilyn Conspiracy asks what if this wasn’t suicide, but murder? And if it was, who was responsible? And was it right and proper for this to be made known to the media and the public?
Aside from these scenes of deep discussion, we see how Monroe herself conducted her last hours, in glimpses with those now in the glare of that 1am discovery of a dead 36-year old woman.
A woman who happened to be one of the biggest sex symbols in the world. A woman who may have been intimately involved with JFK and his brother Bobby. A woman who just wanted to be loved?
Her death and her therapy seem intertwined as she holds something that could bring down the Kennedys. So this is what brings this collection of (real) people together on Masterson’s stage.
Her publicist, Pat Newcomb, the only player in this game still living in 2024. Her psychiatrist and his wife. Her doctor. Her housekeeper, Mrs Murray. And actor Peter Lawford with his wife Patricia, sister to the Kennedy brothers.
It’s all very grimy and very rum. This version of Marilyn is clearly off-kilter, horny, and a lot of fun – but vulnerable, too. Men see her as an object to be used and discarded.
McKellar and Masterson choose to highlight a possible relationship with Dietrich, another question mark in the whirling pool of chatter that has plagued Marilyn Monroe for sixty years.
Genevieve Gaunt is an excellent Monroe, capturing the wiggle, the giggle, and the farm girl under the glitz. Sally Mortemore has been refining the role of Eunice Murray since this play’s Edinburgh run in 2018, and it shows in a lovely, measured performance.
Susie Amy’s Pat is the observer and the voice of dissent as the ‘story’ of Marilyn’s end is crafted. Firmly in villain territory are the Lawfords, with Peter (Declan Bennett, who misses both accent and suavity of the original) appearing simply as the lapdog to his powerful in-laws.
I found myself wondering not why and how Marilyn Monroe died, as unless Ms Newcomb tells us this late in life we will never know, but why this play exists.
For me, it has so many loose ends that fail to gather by the end. There’s a sensationalist tone which does Ms Monroe some disservice, and I really wish we had seen at least one of the Kennedy brothers on the stage.
Note that I saw this on its original press night of 24 Jun, when Natasha Colenso had permanently replaced McKellar as Patricia Kennedy Lawford.
Although she was still ‘on book’, she was extremely good in the role of the steeliest person in the room. You have no doubt where her loyalties lie.
Maurey Richards as Dr Engleman, with David Calvitto and Angela Bull as Dr and Mrs Garrison complete the cast in this extremely talkative show. It’s set in the round and full of period fixtures (set/costume designer Sarah June Mills).
I just felt this was lacking in tension and characterisation, giving us little to work with. Also, I knew the period and some of the characters, and still felt a little lost. Those who vaguely know Monroe and little else may struggle.
A stage that slowly revolves throughout the evening may be playing with us and tipping a wink on what we are seeing and hearing, but I just wasn’t sure and left unfulfilled.
The Marilyn Conspiracy continues until 27 Jul at Park Theatre 200 with tickets here.
***
Image credit: NUX Photography