‘George’
A new play by Léa des Garets
A new play by Léa des Garets
Photo credit: Marie Campain
Last night, I had the pleasure of attending the opening performance of George at the Ustinov Studio in Bath; a bold and beautifully realised new play written by and starring Léa des Garets.
The play centres on the real-life literary icon George Sand, arguably the most famous (and most scandalous) woman in 19th-century France. A writer who defied convention in both her art and her personal life, Sand championed women’s rights and gender expression, and stood at the very centre of French intellectual society. Her circle included Franz Liszt, Eugene Delacroix, Victor Hugo, Honore de Balzac and, in her later years, her great friend Gustave Flaubert.
The play centres on the real-life literary icon George Sand, arguably the most famous (and most scandalous) woman in 19th-century France. A writer who defied convention in both her art and her personal life, Sand championed women’s rights and gender expression, and stood at the very centre of French intellectual society. Her circle included Franz Liszt, Eugene Delacroix, Victor Hugo, Honore de Balzac and, in her later years, her great friend Gustave Flaubert.
Photo credit: Marie Campain
Yet George meets her not at the height of glamour, but at a moment of creative crisis. Faced with an empty wallet and a stubborn lack of inspiration, Sand is forced to turn inward. In doing so, she begins work on her daring play Gabriel, confronting her queerness, her lovers, and the expectations imposed upon her: by society, by the literary world, and by those who claim to love her.
The tone is skilfully handled throughout: witty and playful yet layered with emotional depth. There is a lightness to much of the dialogue, but beneath it runs a more searching question of how far must a woman bend to have her voice heard?
The tone is skilfully handled throughout: witty and playful yet layered with emotional depth. There is a lightness to much of the dialogue, but beneath it runs a more searching question of how far must a woman bend to have her voice heard?
Photo credit: Marie Campain
Léa des Garets delivers a captivating performance as George/Gabriel. There is a fluidity and intelligence to their portrayal, capturing both Sand’s confidence and her vulnerability. As both writer and performer, she demonstrates remarkable control of tone, balancing wit with emotional depth in a way that feels effortless yet carefully crafted. It is particularly impressive to watch a playwright inhabit their own creation with such assurance and nuance.
Alongside them, Iniki Mariano brings vibrancy and physicality to Marie Dorval, grounding the emotional stakes of the story with warmth and energy. Conor Dumbrell, meanwhile, takes on all the male roles with remarkable versatility. Each character feels distinct and fully realised (from lovers to literary figures) and his recurring scenes as Sand’s editor, impatiently sending letters and eagerly awaiting new material, provide some of the evening’s most sharply observed and quietly comic moments.
The production itself is brilliantly staged. Minimalist props, thoughtful lighting, shadows and effective sound design allow the language and performances to shine, while subtly enhancing the emotional shifts of the narrative. In the intimate space of the Ustinov, the three actors feel completely in sync, moving seamlessly between humour and heartbreak.
Alongside them, Iniki Mariano brings vibrancy and physicality to Marie Dorval, grounding the emotional stakes of the story with warmth and energy. Conor Dumbrell, meanwhile, takes on all the male roles with remarkable versatility. Each character feels distinct and fully realised (from lovers to literary figures) and his recurring scenes as Sand’s editor, impatiently sending letters and eagerly awaiting new material, provide some of the evening’s most sharply observed and quietly comic moments.
The production itself is brilliantly staged. Minimalist props, thoughtful lighting, shadows and effective sound design allow the language and performances to shine, while subtly enhancing the emotional shifts of the narrative. In the intimate space of the Ustinov, the three actors feel completely in sync, moving seamlessly between humour and heartbreak.
Photo credit: Marie Campain
What makes George particularly compelling is its relevance in today's world. Though rooted in the 19th century, its exploration of identity, authorship and artistic freedom feels unmistakably modern. It is moving to witness a great writer wrestling not only with her work, but with the cost of telling her truth.
Original, heartfelt and performed with immense talent, George is a thoughtful and engaging piece of new writing. It sheds fresh light on a fascinating literary figure while asking questions that still resonate today. A production well worth seeing.
Original, heartfelt and performed with immense talent, George is a thoughtful and engaging piece of new writing. It sheds fresh light on a fascinating literary figure while asking questions that still resonate today. A production well worth seeing.