THE PARTY GIRLS Tour Shakes up the Stage

The Marlowe Theatre in Canterbury has long been a cornerstone for touring productions in the southeast of England, but now it’s boldly stepping into the producing spotlight with THE PARTY GIRLS. Indeed, the show is the very first outing by Marlowe Theatre Productions, a new enterprise helmed by the theatre’s chief executive, Deborah Shaw. Though a fresh venture, it’s backed by a top-tier creative team that would make any theatre devotee swoon.

Richard Beecham is set to direct, and if that name rings a bell, you might recall his knack for tackling period pieces with a contemporary spark. The stage design will be in the hands of Simon Kenny, while Aideen Malone handles the lighting. Meanwhile, Adrienne Quartly is both composer and sound designer, rounding out the sensory tapestry that will transport us back to the 1930s. Annelie Powell manages casting—still to be announced, but we can undoubtedly expect a cast worthy of Rosenthal’s incisive script.

Given that 2022 alone saw over 34 million theatregoers across the UK (a figure reported by several arts industry trackers), it’s not easy for a brand-new production company to make waves right out of the gate. Yet, with such pedigree, Marlowe Theatre Productions seems poised to pull it off. Deborah Shaw says she knew THE PARTY GIRLS was “majorly important” and “prescient” from the moment she read it, and that it showcases Marlowe’s commitment “to creating world-class theatre in Kent.” For a region often overshadowed by London’s West End, this is a statement of ambition—and hope for more outstanding original works to come.

From High Society to Deep Divisions

What precisely is it about the Mitford sisters that continues to capture the public imagination? On paper, they were an aristocratic brood, known for witty banter, scandalous romances, and a flair for social mischief. But beneath that glossy veneer lay a complex web of political extremes, from fascist sympathies to communist leanings. You can’t make this stuff up: real siblings, bound by birth, splintering into polarised ideologies that foreshadowed the global conflict of World War II.

In THE PARTY GIRLS, Amy Rosenthal revisits this pre-war world with a fresh lens. Rosenthal confesses she knew little about the Mitfords beyond their “notorious affiliations” when she began her research, yet the sisters ended up becoming something of a fascination. “It turned into a passion project,” she says, noting how the play delves into family, identity, and love, all against the backdrop of rising extremist politics. Fascism wasn’t just a distant threat for some Mitfords—it was a lived reality that placed them firmly on opposing sides of history. The play also aims to echo present-day concerns: “the forces of Fascism rise up across the world and Antisemitism proves once again that it was only sleeping,” Rosenthal remarks. Sobering stuff, to be sure, and a reminder that the lessons of the past still resonate.

A Premiere of Premieres

No matter how many theatre seasons you’ve lived through, there’s something undeniably enticing about a world premiere. THE PARTY GIRLS is a fresh script, never before staged, which means it’s an unknown quantity—a rare chance to witness a theatrical birth. Premieres often carry that electric sense of promise: you could be one of the first to experience a show that might become the talk of the town, or perhaps even a staple in future repertoire. It’s like discovering the next big thing before the critics have all weighed in (though, trust me, they will, and soon).

Historically, new British plays can be risky endeavours, but data from the Society of London Theatre shows that the appetite for original work has grown significantly in recent years, particularly outside of the West End. People want something new and resonant, and THE PARTY GIRLS fits the bill, blending humour, heartbreak, and political undercurrents into a sumptuous pre-war setting. In other words, expect gorgeous costumes and sets, but don’t be surprised if you walk out ruminating on the state of the world in 2025.

A Riotous Blend of Wit and Warning

What’s most intriguing, however, is how Rosenthal and Richard Beecham plan to balance the lightness of comedic flair with the gravity of impending war. Reading Nancy Mitford’s novels—often praised for their biting wit—one wouldn’t suspect the darker underbelly of politics that ran through the siblings’ real lives. THE PARTY GIRLS aims to tap into that same tension, offering comedic moments alongside sequences that may make you squirm with discomfort.

The result, if done well, could be a production that holds up a mirror to modern audiences. “Amy’s brilliant portrayal of the notorious Mitford sisters explores the present through the past,” says Richard Beecham, adding that the play “uncovers the political in the personal, and finds considerable humour amongst all the horror and heartache.” It’s that blend of comedic relief and poignant reflection that might just set THE PARTY GIRLS apart from other period dramas. Yes, you’ll likely be enchanted by the high-society trappings, but there’s a fierce intelligence simmering beneath the surface—one that can’t be brushed aside as mere romantic frivolity.

Tour Dates and Where to Catch it

If you fancy experiencing THE PARTY GIRLS for yourself, mark your calendar. The show will run at the Marlowe Theatre in Canterbury from 1 to 6 September, with an official press night slated for 3 September. After that, it embarks on a tour that includes a host of notable venues: the Belgrade Theatre in Coventry, Malvern Festival Theatre, Eastbourne Devonshire Park Theatre, Oxford Playhouse, and Birmingham Rep. Each of these venues has its own storied history, so if you need an excuse for a mini-break, consider following the production to one (or more) of these lovely locales.

It’s not just about the show, after all—it’s about the grand tradition of theatregoing as an adventure in itself. In Malvern, you can stroll the hills that inspired Edward Elgar. In Oxford, you can get lost in the spires and libraries that shaped literary giants. Pair that with a gripping new play, and you’ve got an outing that satisfies both cultural curiosity and intellectual appetite.

A Brave Move for Regional Theatres

There’s another layer worth mentioning here: the significance of a regional theatre like the Marlowe taking the bold step to produce new work. Far too often, we associate cutting-edge productions with big-city stages—Sydney, London, New York—leaving regional venues to host tried-and-tested classics. Yet, the Marlowe’s decision signals a departure from that norm, championing innovative theatre in Kent. For local theatregoers, this is a powerful statement of pride: your hometown venue is carving out a new identity, one that fosters creativity at its roots rather than merely importing it.

That approach matters in the broader context of theatre’s future. There’s a push across Australia and the UK to decentralise arts funding and encourage vibrant regional scenes. Remember that some of the most game-changing works in theatre history began in out-of-the-way places before eventually dazzling major capitals. THE PARTY GIRLS, with its potent blend of history and modern resonance, might just prove a lightning rod for Canterbury’s cultural evolution.

One Final Word of Temptation

At a time when the world seems to teeter on the brink of fresh polarisation, perhaps the Mitford sisters’ saga has never been more relevant. THE PARTY GIRLS doesn’t shy away from that uncomfortable truth, but neither does it wallow in despair. If Amy Rosenthal’s track record is anything to go by, we can expect wit, warmth, and just a dash of rebellious spirit. After all, these are individuals who, despite sharing the same childhood memories, ended up on shockingly divergent paths.

It’s precisely that tension—the parallel lines of sisterhood and politics—that could make this new play both a riotous romp and a cautionary tale. Throw in a talented director, a canny design team, and the excitement of a brand-new producing venture, and you have all the makings of a show that defies easy categorisation.

So if your theatrical taste leans toward a well-told story laced with social commentary, consider making your way to Canterbury (or whichever tour stop suits your calendar). THE PARTY GIRLS is more than a portrait of glitzy aristocrats; it’s a timely examination of how easily loyalties can fray when the world itself stands at a dangerous crossroads. Perhaps the Mitfords were the “Kardashians of the 1930s,” or perhaps they were something far more layered and foreboding. Either way, the chance to watch that story unfold onstage—through a new lens, at a new theatre enterprise—feels like a stirring invitation we shouldn’t dare decline.

And as those stage lights dim on opening night, I’d wager the Mitfords’ laughter, heartbreak, and moral quandaries will echo far beyond Canterbury’s city limits, reminding us that theatre isn’t just an escape—it’s a means of grappling with who we are, who we’ve been, and who we might yet become.