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The Vegan Tigress, a new play by Claire Parker, shines a spotlight on the largely-forgotten feminist fairytale writer Mary De Morgan (1850-1907). And the timing is particularly apt. The show opened, at London’s Bread & Roses Theatre, in the lead up to International Women’s Day and during the year of the 175th anniversary of De Morgan’s birth.
The production, by LynchPin Theatre Company, is part of a wider cultural project to celebrate underappreciated Victorian women writers, actors and activists. Parker has also written plays on feminist actor Ellen Terry and her daughter Edie Craig.
It also speaks to a general resurgence of interest in the creative De Morgan family. Mary’s father was Augustus De Morgan, the mathematician and logician and her brother was the potter, tile designer and novelist William De Morgan.
The Bread and Roses Theatre – an intimate space above a lively Clapham pub – creates an immersive experience. The audience shares De Morgan’s modest London quarters along with the accidentally summoned ghost of her ex-lover’s formidable mother: Lady Tuttle (played by Edie Campbell).
Providing comedic value, Tuttle deploys her spectral status to prank De Morgan (played by Parker), but her presence also highlights the stark differences between them, staging a debate between feminist and patriarchal versions of Victorian-Edwardian womanhood.
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Shrill-voiced, upper-class and tightly corseted, Tuttle opposes women’s education and refers to suffragettes as “hyenas in petticoats and bitter spinsters”.
Striding across the stage swathed in silk skirts and a velvet, lace-trimmed bodice, she is both a mesmerising and somewhat villainous matriarch. By contrast, De Morgan is an irreverent free spirit who wears bohemian clothing, admires revolutionaries and has been a suffragist since she was 16.
The show portrays De Morgan as a pioneering professional woman, writing feverishly at a desk flanked by piles of beautiful antiquarian books. Parker and Campbell are hypnotic in their imaginative retellings and performances of De Morgan’s stories such as the The Hair Tree (1877), which are woven into the play.
The Vegan Tigress transports the audience into fantastical realms, fusing eerie lighting with dazzling props and sound effects – thunder, birdsong, clamouring voices.
With impressive ease, the actors shape-shift into bizarre animal forms – a puppet parrot, a tortured tiger and a grotesque tortoise. Together they illuminate the sociopolitical subtexts of De Morgan’s stories.
Her subversive tale from 1877, A Toy Princess (which Parker describes in the play), critiques doll-like ideals of femininity, prefigures the feminist fairy tales of Angela Carter and resonates with the Barbiemania that surrounded the release of the Barbie film in 2023.
In literature and in life, De Morgan resists conventional narratives of marriage and motherhood, enacting alternative destinies for women.
Especially successful as a visual manifestation of the stories’ transformative power is the simultaneously symbolic and literal change we witness in Lady Tuttle.
The more she reads The Windfairies (1900, one of three fairy tale collections by De Morgan) and political publications (Votes for Women), the less straitlaced she becomes – literally. Her corset unbuttons and her tied hair loosens. Despite being a ghost, Lady Tuttle comes alive as her mind expands, testifying to the powerful potential of reading and writing.
In joyful and poignant moments of female bonding in the second half of the play, Tuttle and De Morgan dance the tango, and embark arm-in-arm on the trip of a lifetime to Egypt, where De Morgan worked in real life in a girls’ reformatory. The show becomes a celebration of female creativity, companionship and community.
At the play’s close, the fourth wall is broken and the audience is addressed by De Morgan as “people from the future”. It prompts a reflection on how far we have come since first-wave feminism, but also how far we still have to go (given #MeToo and the reversal of Roe v Wade, the US Supreme Court ruling that legalised abortion across the States in 1973), making Parker’s revival of De Morgan timely and important.
If De Morgan’s legacy is, as she soliloquises, “arming lost, disenfranchised girls and women with the tools to stand their ground”, what will ours be?
The Vegan Tigress is at The Bread & Roses Theatre until March 1.
Lucy Ella Rose does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
