Inspired by the character Mrs. Danvers from the novel REBECCA by Daphne du Maurier, BECOMING MAVERICK takes us on a captivating journey through one woman’s life, shadowed by mystery, loss and resilience.

Set in 1919, the story begins with the discovery of a child locked inside a trunk aboard a cargo ship. Her young mother lies dead nearby, a scene that sets the tone for a life shaped by absence and unanswered questions. Taken into custody, the girl is sent to an orphanage in Plymouth, where she spends years grappling with a growing sense of confusion about her origins – her only memory of her mother being a fleeting touch on her pregnant belly before she was gone forever.

With minimal props and set, Alexander manages to immerse us the stark loneliness of the orphanage and the restless energy of a child searching for identity. At 16, the girl escapes to London and reinvents herself, applying for a position as a nanny in the home of aristocrat Cain Hensley. Here, Alexander shifts the tone, bringing warmth, wit and a touch of sass as the young woman charms her way into a job she is unqualified for. A memorable moment is her cheeky narration of the job interview, breaking the fourth wall to draw the audience into her shenanigans. As her relationship with Cain Hensley’s daughter deepens, a traumatic incident binds the two in a way that cannot be undone, shaping their futures and revealing the answers to untold truths (leaving a sense of mystery here to avoid any spoilers). In another particularly moving scene, driven by the clever use of lighting, we witness the vivid memory of her mother’s pregnant belly come to life. If Alexander is looking to develop the play further, it could be an idea include this as a recurring motif that echoes throughout, representing and reminding us of her longing to connect with her mother. 

BECOMING MAVERICK is an intricate, evocative and poetic account of one woman’s search for answers and a place to belong, with Alexander giving an emphatic and poignant performance, guided by director Tina Pelini.

Sadly the show has finished its run at the Actors Theatre, but it will soon be on route with upcoming performances at the Stables Theatre in Hastings (27th June), The Space in Edinburgh (1st-9th August) and Rye Arts Festival (21st September). 

Photo by Peter Williams.