Gemma Blundell-Doyle
A salient line from Russell T Davies’ new drama Nolly, now available to stream on ITVX, is “The star of the show is the motel,” said self-assuredly by protagonist Noele Gordon (Helena Bonham Carter). Though this biopic, which stands as a tribute to the career of ‘Queen of the Midlands,’ begs to differ.
Noele Gordon
From the outset of the three-episode-length drama, it is clear that Gordon garners adoration on a scale which, at first, would seem disproportionate to her credentials as a character on the soap opera Crossroads. This sense that her character was so well-loved is confirmed numerous times. Members of the public stop her on the street to comment on her character’s current storyline.
In each instance, Gordon handles these interactions with the decorum and warmth one would attribute to a monarch. Her ability to draw in this attention and anchor a programme, which at its peak had a weekly audience of 15 million viewers, is what makes the sudden termination of her employment contract in the first episode, on the surface, so bewildering.
Crossroads
“Too often, assertive women find their talent in the workplace is the reason for their demise”
However, Davies adeptly writes a script, which Bonham Carter delivers effortlessly, that portrays the many instances where Crossroads producer Jack Barton (played by Con O’Neill of Happy Valley) becomes disgruntled at the alterations to the scenes she suggests. Her astute amendment of the Americanised term ‘lawyer’ to the British ‘solicitor’ could be interpreted as pedantic, as O’Neill’s stony face seems to suggest, but is evidence of her devotion to Crossroads.
Too often, assertive women find their talent in the workplace is the reason for their demise. It is only in the final episode that Barton admits this, doling out the resentful phrase, “You were difficult.” This unfair explanation will resonate with those who have found themselves expunged by their employer in a similar manner, and illustrates the social expectations of women in the workplace.
“Why do they hate me?”
The whirlwind of drama, which gives energy to the second episode, comes at Gordon’s decision to announce her sacking to the press. In retaliation, the TV production company ATV refuses to share with Gordon how or when her character, Meg Mortimer, will meet her end, and the whole cast becomes embroiled in the task of searching their various scripts for clues. The eruption of a pantomime-esque frenzy illustrates the power imbalance between actors and producers in the industry.
The accidental PR stunt that this commotion has given way to is revelled in by ATV. They go to extreme lengths to film decoy endings and devise press stunts. A stand-out scene is when Gordon’s on-screen daughter Jill, played by Antonia Bernath in Nolly, rushes into Gordon’s apartment, announcing she has just filmed her funeral scene. The anguish of not knowing her fate takes a toll on Gordon and the effects of ATV’s cruel punishment are seen as she cries, “Why do they hate me?”
Throughout her ordeal, Gordon leans on her castmate Tony Adams (played by Augustus Prew) for support. Living opposite one another as neighbours, Gordon takes refuge in late-night window shopping with his company. They jest about whether the outfits on display would suit them, with Gordon stating, “A bit young for me,” after gazing at one dress.
Personal Revival
The doom that post-middle-age poses for many women, especially in the entertainment and media industry, is explored in Nolly.
It is hard not to come to the conclusion that Gordon, with her exit from Crossroads, finds herself on the precipice of her career. This is an anxiety that Gordon vocalises in a touching scene, where she worries she is “nothing” without her role. Her own identity is understandably intertwined with Meg’s. Noele Gordon played the character from 1964 to 1981. Scenes where she sits alone in her apartment learning her lines reveal the demands of a programme that aired five days a week. The prospect of its absence is undoubtedly daunting.
Nonetheless, Gordon finds success in the theatre world. Nolly depicts her role in the musical Gypsy. Initially, she is portrayed as doubting her ability to make the screen-to-stage transition, and worries that she is becoming tainted by the scandal of her sacking. However, once reassured by Adams’ confidence-invoking words, she returns to her role with the vigour featured in the early elements of the first episode.
This, in effect, is her personal revival.
“the self-affirming lyrics indicate an upturn in her career”
Bonham Carter performs an impressive rendition of ‘Everything’s Coming Up Roses,’ which is a highlight of Nolly. Her musical ability is not surprising, given her acclaimed performance as Mrs. Lovett in the musical film Sweeny Todd (2007).
Whilst performing the song, the self-affirming lyrics indicate an upturn in her career. Unfortunately, despite the success of Gypsy, it does not get transferred to the West End, but does go on a tour of Asia. This section allows Gordon to leave behind the woes of England. She is depicted as relaxed and having fun in the late-night shows Thailand has to offer with the rest of the cast. An unexpected revelation, after the cast finds themselves in the middle of a police raid, is an example of Davies’ ingenious mind, devising a plausible way for Gordon to be brought back to England.
Reclaim to Fame
Back on British soil, she is approached by an apologetic Barton, requesting her return to Crossroads. She is soon surrounded by extravagance as she is flown to Venice for a special episode. Gordon and Adams cruise down the canals. This seems like Gordon’s homecoming. The cast and crew are relieved to be in her presence once again.
In Davies’ reimagining of Gordon’s life, she is allowed to retake her throne surrounded by the adoration of her cast and crew.
Largely unknown to contemporary audiences, Nolly illustrates the perils that women in the entertainment industry still face.
Recent treatment by the press of Meghan Markle is evidence of how their careers and personal lives become cannon fodder for the underbelly of the industry.
Davies acknowledges this but does not allow Gordon’s legacy to become eclipsed by those who treated her as expendable. He returns her to screen and memory, allowing a new audience to appreciate her character.
Featured image courtesy of Ajeet Mestry via Unsplash. Image license found here. No changes were made to this image.
