Lyonesse, Harold Pinter Theatre, review: Kristin Scott Thomas and Lily James lead a flimsy yet fascinating creation

A fire-starting crotch is just one of the big tonal swings in this tricksy, incisive drama by playwright Penelope Skinner

Posh, fragile chaos: Lily James in ‘Lyonesse’ at the Harold Pinter Theatre (Photos by Manuel Harlan)

We’ve mostly banished the casual sexism of the Noughties, but are women actually in control of their own narrative? Absolutely not, argues Penelope Skinner’s cynical, fascinating, flawed new play, one that’s soaked in pessimism and salty Cornish sea air.

Director Ian Rickson has brought some seriously bankable screen stars to this tricksy drama, which marks Skinner’s long-awaited return to the West End after Royal Court hits The Village Bike (2011) and Linda (2015). Kristin Scott Thomas visibly revels in the central role of Elaine, a reclusive actor who romps about in a swimsuit and fur coat (there are strong shades of Grey Gardens here). And Lily James is all posh, fragile chaos as film development executive Kate, who’s been tasked with bringing this mercurial star’s story to the screen. She’s dedicated to her job, but her personal life keeps messily spilling out, like the tangled contents of her overstuffed handbag.

Skinner’s writing is incisive and startlingly funny as she skilfully outlines the horrors underpinning Kate’s seemingly perfect life. Her supposedly feminist boss Sue (Doon Mackichan) is a staunch supporter of working mothers until it inconveniences her in any way, and runs roughshod over Kate’s childcare issues while using the language of empowerment. Meanwhile, Kate’s right-on husband, Greg (James Corrigan), is on hand to remind his wife to be grateful that she gets to combine work and a toddler, while pressuring her to have the second baby that would be the nail in her glamorous career’s coffin.