Biographical and intellectual
Jerome Kilty’s Dear Liar is based on the exchange of letters between prolific writer George Bernard Shaw and brilliant actress Mrs Patrick(Stella) Campbell. After they began negotiations for the London production of Pygmalion, Shaw developed an infatuation for Campbell that resulted in a passionate, unconsummated love affair of mutual fascination, writes Linda Emmanuel.
As we take our seats to the sound of classical music we see the set: a gramophone, a couple of swag curtains, a chair, a typewriter upon a small table, and a step ladder in the middle with a hat box beneath, indicate an Edwardian living room – cleverly designed by Tom Harris.
The actors, Rachel Pickup and Alan Turkington enter the space wearing Edwardian costume. They move to the front of the stage to introduce the premise of the play – breaking the fourth wall.
Campbell opens the hat box containing letters that Shaw had written to her over the years. The correspondence between them reveals the intensity of the unconsummated love they shared. Letters full of sharp witticisms; Campell writes to Shaw that “Somebody ought to have told you to hush just once”, with Shaw’s reply “…the only word I could find that rhymes with Stella is Umbrella”. Similar exchanges kept the audience entertained.
Rachel Pickup’s portrayal as Campbell is assured, strong and confident, she was not afraid to give Shaw as good as he gave. In another reply she implores, “One of us must behave like a gentleman”. In one scene, we were treated to a rehearsal of the reverse elocution lesson in Pygmalion, where a very well-spoken Campbell is learning ‘Cockney’, delighting the audience.
Turkington’s enjoyable Shaw establishes a prickly and quarrelsome, spoilt man who was averse to considering opposing ideas. Stella sadly lost her first husband in the South Africa war, and then her son to the First World War. When she shares the letter notifying of the death of her son with Shaw, he refuses to console her as he is fiercely anti-war. Though later, nearer the end of their lives, he writes of his sadness at his uncaring response.
Sound designer Harry Blake makes use of the rhythmic clatter of a vintage typewriter to denote the movement of time throughout the play.
Stella Powell-Jones’ direction perfectly captures the physical distance between the two characters experiencing an unconsummated love affair.
Scholars and fans of English literature will thoroughly enjoy the biographical and intellectual aspects of this production.
Jermyn Street Theatre until 7th March 2026.
Booking and full details: https://www.jermynstreettheatre.co.uk/show/dear-liar/
