Review: The Paper Doll House, Old Red Lion Pub and Playhouse

Fans of 1920’s Hollywood will be familiar with film director William Desmond Taylor and the shockwaves that his unsolved murder caused across the film industry. The Paper Doll House, written by Julie Balloo with co-writer Donna King, is an imagined exploration of the impact of the arising investigations felt years later by two of the suspects.

Set in 1956, former actress Mary Mile Minter (Carol Been) and her domineering mother Charlotte Selby (Jan Goodman) are isolated in their Hollywood Mansion, bitter and resentful that negative press following the murder led to the end of Minter’s career. A chance visit from enthusiastic sales representative Betty (Chloé Teresa Wilson) is about to shake their world and dig up the past. Learning about their connection to the deceased Taylor and convinced of their guilt, Betty’s volatile partner Eddie (Tom Inman) seizes the opportunity to make his fortune by deceiving the women into confessing to the murder. Selby is enticed by the chance for restored fame that this ‘television producer’ can offer them. With both sides seeking to profit from the other, more than one power struggle unfolds.

Balloo and King have crafted a story that fully immerses the audience in the world of 50s Hollywood, both the outward glamour that fame can bring and the hidden cost for those who struggle to find it. There are many enjoyable references to the culture of the era of film and stage production as Selby and Minter reflect on their nostalgia for the films, shows and actors they have worked with. In a stylish noir opener, a private detective (Inman) briefly sets out the history of events, ensuring that the story is accessible for those less familiar with the period. The piece is equally engaging as a character drama, showcasing a parallel between the two generations; the differences in language and expressions between generations is both authentic and entertaining.

Director Tug J. Wilson maintains a flowing pace so that the initial stories of both pairs are equally compelling; both sides are relatable and have sympathy by the time they intersect. The movements and tones are moderated as the cast bring both the characters’ true selves and assumed personas to life; Goodman and Been are formal and gracefully as befits their staged personas, whilst Wilson and Inman are more animated and casual.

The attention of period detail is also delightfully represented in the production design. Across the 1920s–50s, a significant development was the gradual transition of film production from black and white to colour and the aesthetics of both eras are creatively reflected by Gahyeong Freya Lee’s detailed set and costume design. The costumes – a range of period appropriate dresses, coats and jackets – are entirely black and white, serving as an effective signifier that Selby and Minter are stuck in the past. In contrast, the set and props are a vibrant representation of the new world of colour; the sofa, chairs and rug are made from deep tones of reds, purples and blues. The emotions of scenes are enhanced by Melody Mengyun Liu’s lighting design, which presents the warm glow of nostalgia quite literally during the reminiscences of the ensemble. Likewise, Zhuoer Zhou’s sound design enlivens scene transitions with a range of jaunty period music, to which the cast occasionally dances.

The attention to detail of the period setting fully draws us into the world of the compelling characters, whose quick verbal sparring brings humour and emotional drama. The dreams and struggles of those earning a living from the ‘golden age’ of showbusiness are as relatable as those working in its modern era.

Written by: Julie Balloo
Co-Written by: Donna King
Directed by: Tug J. Wilson
Set and costume design by: Gahyeong Freya Lee
Sound design by: Zhuoer Zhou
Lighting design by: Melody Mengyun Liu
Sound operator: Yuyang Li
Lighting operator: Yuqing Wang
Presented by: The Lollywood Players

The Paper Doll House plays at Old Red Lion Pub and Playhouse until Saturday 14 February.