Edinburgh Fringe 2025
Pretty, Witty Nell
Clarissa Adele / Rogue Shakespeare
Genre: Drama, Solo Show, Theatre
Venue: Bedlam Theatre
Festival: Edinburgh Fringe
Low Down
This is the story of Nell Gwynne, the actress, prostitute and mistress of King Charles II, told by Nell herself. A solo show performed completely in iambic pentameter, managing a modern take on a famous figure of history.
Review
Taking Samuel Pepys’ description of the actress Nell Gwynne, Pretty Witty Nell, as its title, this is thoroughly connected not just to the story of Gwynne, but also the history of the time.
This is a superior piece of writing, with an exceptional performer in the chair. There are very few superlatives left for Pretty Witty Nell in terms of writing, but this is exceptional. Taking iambi pentameter and making it sound modern is some achievement. Of course, such accolades and all the rest mean not a jot when you arrive at Edinburgh Festival Fringe. Here Bedlam is not quite full, reminding us that even those who come with a pedigree might struggle.
Although in 2025 performing anything in iambic pentameter has to be admired but it cannot just depend upon the quality of what is written, it must also depend on the quality of the performance. And here Clarissa Adele portrays Gwynne as the willing mistress, the cunning crafts woman and the author of her own future in equal part. Although any woman in the 17th century is left to the vagaries of misogyny, and of the ways in which she is negatively going to be viewed is challenging for any narrative. When she falls on hard times, many may turn up gleefully at her door with bailiffs, but she does endure through some surprising charity. it is a subtle performance which delves into her character. Of course, it is interesting to hear about the major scandals of the time but also those tender moments where a woman who is not scorned but left as a pseudo widow has to contemplate life and the path of her own future. All the complexities of her own character and the caricatures of her rivals and people she encounters is worked in well.
It’s directed skilfully and Ryan WJ Smith’s creates not just a woman with the ability to survive but the various exchanges which elevate the performance and illuminate the room. It’s this approach which ensures we have a character driven piece of theatre but with a chorus of disapproval present onstage with her. The set is a throne. With a crown off to the side on a table. Clearly holding metaphorical significance because as the King’s mistress she was never going to be the Queen, but it is simplistic enough that the point is made.
Lighting and sound were absolutely apposite, and the costume was appropriate to the time.
Pretty Witty Nell is a beautifully crafted piece of performance art which is in a venue that suits it. That’s the beauty of the Fringe, that venues outside of the larger ones have the opportunity to showcase genuinely good writing, excellent performances and a heightened sense that artistry is still alive, kicking and has a vibrant place in the firmament.
