Category Archives: Theatre

The Threepenny Opera


7 Stages Theatre
5  Days to Go
3 Penny Opera
1 Sound Spanking

The countdown is on before a brand new stage spanking in Atlanta, GA.  See Bertolt Brecht’s musical The Threepenny Opera from Sept. 9-25.

Live musicians and Atlanta’s best actors perform powerful songs of revolution like ‘How to Survive’ along with classic numbers ‘Mack the Knife’ and ‘Pirate Jenny’ in this raw musical about power, sex, and the evil things one must do to stay alive in a corrupt world.

The picture shows Aaron Strand as Macheath, and Stephanie Lloyd as Polly Peachum.

Buy tickets here.

Lela & Co

Lela and Co

Let’s kick off the autumn season with a brand new spanking on the London stage. A gold-suited David Mumeni takes the tutu-wearing Katie West (Lela) across his knee in front of a red velvet curtain for a dose of discipline which looks like it might be from a variety show or glitzy musical.

Cordelia Lynn’s new play, which is in fact anything but showbizzy, has received five star reviews. The early scenes deal with Lela’s upbringing in a remote village in an unnamed country and, while none of the notices mention spanking, one talks about a scene in which her father “admonishes” her for ingratitude.

Mumeni plays all of the male characters in a drama which, after a playful opening, turns out to be a harrowing account of a young woman who is forced by her husband into providing sexual services for the soldiers in a war zone.


Lela & Co runs at the Royal Court Theatre until 3rd October.

More Production Shots

L’assommoir d’ Émile Zola

Assommoir2L’Assommoir (1877) is the seventh novel in Émile Zola’s twenty-volume series Les Rougon-Macquart. Considered one of his masterpieces, the study of alcoholism and poverty in the working-class districts of Paris was a huge commercial success and established Zola’s fame and reputation throughout France and the world.

It tells the story of Gervaise  who runs away to Paris with her shiftless lover Lantier to work as a washerwoman in a hot, busy laundry.

Thanks to Maria White and Harry  for their help with this post.


Scene: Paris, 1850: a public washhouse. Enter Virginie Poisson, the local shrew, who hates the club-footed Gervaise.

Suddenly Mme Boche cried out:

“Goodness, if it isn’t that great tall Virginie! She is actually coming here to wash her rags tied up in a handkerchief.”

Gervaise looked up quickly. Virginie was a woman about her own age, larger and taller than herself, a brunette and pretty in spite of the elongated oval of her face. She hesitated a moment in the center aisle and half shut her eyes, as if looking for something or somebody, but when she distinguished Gervaise she passed close by her with her nose in the air, insolently swaying her hips, and finally established herself only a short distance from her.

Gervaise made a show of keeping her back to Virginie. But she could hear sniggering, and was conscious of her sidelong glances. Virginie, in fact, seemed to have come there to provoke her, and when Gervaise turned around the two women stared hard at one another.

Mme Boche whispered in her gruff voice, “Look at her over there, she’s laughing ’cause you’re crying — the heartless little cat!”

A wild tempest of rage shook Gervaise from head to foot. She stooped with her arms extended, as if feeling for something . . . then snatched up a bucket of soapsuds and threw it at Virginie.

“Bitch!” screamed Virginie. She’d jumped back, so only her boots were wet. All the women in the washhouse hurried to the scene of action. They jumped up on the benches, some with a piece of bread in their hands, others with a bit of soap, and a circle of spectators was soon formed.

“Oh! The bitch” repeated Virginie. “What has got into the fool?” Gervaise stood motionless, her face convulsed and lips apart. The other continued:

“Just look at her, she’s sick of fucking the provinces, soldiers had her for a mattress by the time she was twelve, she’s left a leg back home there. Rotted away it did!”

The women laughed. Virginie, emboldened by her success, went on in a louder and more triumphant tone:

“Come a little nearer, and I will soon settle you. You’d have been better off in the country. It is lucky for you that your dirty soapsuds only went on my feet, for I would have taken you over my knees, pulled up your skirts, and given you a good spanking if one drop had gone in my face. What is the matter with her, anyway?” And big Virginie addressed her audience: “Make her tell what I have done to her! Say! Trollop, what harm have I ever done to you?”

“You had best not talk so much,” answered Gervaise almost inaudibly; “you know very well where my husband was seen last night. Shut your trap or I’ll strangle you for sure .”

“Her husband, she says! Her husband! Madame’s husband! As if she could catch a husband with a bandy leg like hers! Is it my fault if he’s dumped you? . . .”

The laughter began again. Gervaise, in a low, concentrated voice, repeated:

“You know very well–you know very well! Your sister–yes, I will strangle your sister!”

“Oh yes, I understand,” answered Virginie. “Strangle her if you choose. What do I care? . . .”

Big Virginie turned away, but after five or six angry blows with her paddle she began again:

“Yes, it is my sister, and the two adore each other. You should see them bill and coo together. He has left you with these dirty-faced bastards . . .”

“Bitch, bitch, bitch!” screamed Gervaise, beside herself, once more trembling uncontrollably.

She turned and groped on the ground again; seeing nothing, finding only the small tub of bluing water, she threw that in Virginie’s face.

“The slut! She’s ruined my dress!” shrieked Virginie, whose shoulder and one hand were dyed a deep blue. “Just you wait, you shit!” she added as she, in her turn, snatched up a pail and emptied it over the young woman. At that point, a battle royal began . . . Soon it was impossible to keep track of the score. Both were shivering and streaming with water from head to foot, their bodices sticking to their backs, their skirts clinging to their buttocks .

The laundresses were immensely amused, and applauded as if at a theater .  Suddenly Virginie discovered a bucket of scalding water standing a little apart; she caught it and threw it upon Gervaise. There was an exclamation of horror from the lookers-on. Gervaise escaped with only one foot slightly burned, but exasperated by the pain, she threw a tub with all her strength at the legs of her opponent. Virginie fell to the ground .

The battle began again, this time silent and wordless and literally tooth and nail .  It was on Gervaise that the first blood was drawn. Three long scratches from her mouth to her throat bled profusely, and she closed her eyes with each attack, lest she have an eye put out.. As yet Virginie was not bleeding. Suddenly Gervaise seized one of her earrings–pear-shaped, of yellow glass–she pulled, the ear split, and blood began to flow .

Both women lay on the ground. Suddenly Virginie struggled up to her knees. She’d just picked up one of the paddles and was brandishing it. Her voice was hoarse and low as she muttered:

“This will be as good for you as for your dirty linen!”

Gervaise, in her turn, snatched another paddle, which she held like a club. Her voice also was hoarse and low.

“I will beat your skin,” she muttered, “as I would my coarse towels.”

They knelt in front of each other in utter silence for at least a minute, with hair streaming, eyes glaring and nostrils distended. They each drew a long breath.

Gervaise struck the first blow, with her paddle glancing off Virginie’s shoulder. And then she flung herself sideways to escape Virginie’s weapon, which brushed her hip.

Thus started, they struck each other as laundresses strike their linen, vigorously, rhythmically. When a blow landed on flesh, it sounded muffled, as if it had landed in a tub of water .

Suddenly Gervaise gave a howl. Virginie had hit her with all her might on her bare arm, above the elbow; a red patch appeared and immediately began to swell. She hurled herself at Virginie; the spectators thought she meant to kill her. “Stop! Stop!” they cried. But her face was so terrifying that no one dared go near.


With almost superhuman strength she seized Virginie round the waist and forced her over so her face was pushed down onto the flagstones and her bottom was in the air; despite her struggles, Gervaise pulled her skirts all the way up. Underneath were drawers. Slipping her hand into the slit, she tore them off, exposing bare thighs and bare buttocks. Then Gervaise raised her paddle and began to beat .  Each smack of the paddle fell on the soft flesh with a wet thud, leaving a scarlet mark .

The women were laughing again by this time, but soon the cry began again of “Enough! Enough!”

Gervaise didn’t hear, didn’t tire. Keeping her eyes on her work, she bent low over it, determined not to miss one single spot. She wanted every inch of this flesh beaten, beaten and scarlet with shame. And she began to sing, full of ferocious gaiety, as she remembered an old washer-woman’s song:

Bang! Bang! Magpie’s wash she’s thwacking,

Bang! Bang! With her paddle smacking,

Bang! Bang! Pain after sinning,

Bang! Bang! Here’s a beginning.

And she went on: “This one’s for you, this one’s for your sister, this one’s for Lantier. Mind you give it ’em when you see ’em. Wait! I’ve not finished. This one’s for Lantier, that for your sister, and this one’s for you!

Pan! Pan! Margot au lavoir!

Pan! Pan! a coups de battoir . . .

Maria Schell in Gervaise

They had to drag Virginie out of her grasp. The tall brunette, weeping and sobbing, her face scarlet with mortification, grabbed her washing and fled, defeated.


Three weeks later, about half-past eleven one fine sunny morning, Gervaise and Coupeau, the tinworker, were eating some brandied fruit at Pere Colombe’s Tavern, known as L’Assommoir . . .

“Oh, you are none too amiable. You beat people sometimes, I have heard.”

She laughed gaily.

Yes, it was true she had beaten up that great hulking Virginie. That day she could have strangled someone with a glad heart. She began laughing even more when Coupeau recounted that Virginie was so mortified at having displayed everything she’d got, she’d left the neighborhood.


One Saturday Gervaise had hard work. It had rained for three days, and all the mud of the streets seemed to have been brought into the shop. Virginie stood behind the counter with collar and cuffs trimmed with lace. Near her on a low chair lounged Lantier, and he was, as usual, eating candy.

“Really, Madame Coupeau,” cried Virginie, “can’t you do better than that? You have left all the dirt in the corners. Don’t you see? Oblige me by doing that over again.”

Gervaise obeyed. She went back to the corner and scrubbed it again. She was on her hands and knees, with her sleeves rolled up over her arms. Her old skirt clung close to her stout form, and the sweat poured down her face.

“The more elbow grease you put into it, the more it shines,” said Lantier sententiously with his mouth full.

Virginie, leaning back in her chair with the air of a princess, followed the progress of the work with half-closed eyes.

“A little more to the right. Remember, those spots must all be taken out. Last Saturday, you know, I wasn’t all that pleased.”

And they both put on an even more majestic air, as if they were on thrones, while Gervaise dragged herself about at their feet in the black mud. Virginie must have been enjoying herself, for her cat’s eyes sparkled with malicious joy, and she glanced at Lantier with a little smile. Yes, now she had her revenge for that mortification in the wash-house, that paddling she’d never ever been able to forget!


In the 1956 film, based on L’Assommoir, Gervaise was played by Maria Schell while Virginie was played by Suzy Delair. Just as in the book, Gervaise pulls down Virginie’s drawers and exposes her buttocks before beating her with a paddle.  Delair’s bare bottom actually belongs to a body double who was a dancer at the Crazy Horse Saloon with the typically bizarre stage name of Rita Cadillac… and a wonderfully photogenic backside!


Émile Zola’s son and  great-grandaughter, Brigit, watched the spanking scene being filmed but it was too much for the US censor who cut it out.

As a little girl of about ten I had accompanied my grandfather Jacques on the set of Gervaise and had seen the different rehearsals of the famous “spanking” scene. Maria Schell played Gervaise; my grandfather was pleased to note that she represented the character of Gervaise well, physically and psychologically. He chatted with her, and I was all ears.

It was reinstated for the DVD release which featured a drawing of the scene on the cover.

There have been numerous stage productions of Zola’s novel.  The famous impresario Augustin Daly produced a version in New York just a couple of years after the book was first published, and in Paris a 1900 production caused quite a stir when a large billboard went up featuring the paddling scene .

Skipping  forward the best part of one hundred years to the north of England, a version of L’Assommoir was performed under the title A Working Woman at the West Yorkshire playhouse in  November 1992.

It was adapted by Stephen Wyatt and the script includes the fight in the laundry with a few interesting variations. Virginie is bent over an ironing board and the paddling is sound tracked by can-can music.  In one important respect the scene follows the book though;  Gervaise pulls down Virginie’s drawers!


A Working WomanVirginie enters with a token quantity of washing. She walks slowly down past Gervaise, smiling, and then back up to a place with the other washer women.

Mme B:  Hey, Virginie, what are you doing here?

Virginie pulls a couple of other women into a huddle for a whisper. Her face is full of malicious amusement.

 Mme B: (looking at her) I reckon she’s only come here to gloat. She knows all about it, you can bet your life. She’s going to run straight home and tell them how you’ve taken it.

 A burst of laughter from Virginie and her friends. Gervaise turns to face Virginie. Virginie is aware of her gaze.

 Virginie: (to her friends) I think Lantier prefers women with two legs.

Gervaise picks up the bucket and throws the water at her.

Virginie: You bitch!

 The whole washhouse is silent now. Virginie turns angrily.

 Virginie: So what made you do that then, you lop-sided cow?

Gervaise: (hotly) As if you didn’t know.

Virginie: It’s not me that’s taken your precious husband. Anyone here found Madame’s husband? I’m sure she’ll offer a reward.

Gervaise: He’s gone with your sister, you know bloody well.

Virginie: And who can blame him?

Gervaise: You cow, you bloody cow!

She attacks Virginie. The two women roll across the floor fighting while the other women encourage them and beat their buckets and boards excitedly.

Mme B: (to Charles) Someone ought to stop them.

Charles:  (grinning) Not me love. Best show I’ve seen in years.

Gervaise grabs Viginie’s ear and pulls her earring off. Verginie screams at the pain then grabs Gervaise and wrenches her arm savagely behind her back. Triumphantly she claims victory. But Gervaise comes up behind her and forces her over one of the ironing boards. She grabs a wooden beater from one of the other women, pulls down Virginie’s drawers and starts to beat her.

 Gervaise: I’ll tan your arse for you! You won’t sit down for a week!

The other women roar approval and dance mockingly round the beating to can-can music. Finally Gervaise, exhausted and satisfied, throws down the beater. Virginie crawls away sobbing with humiliation. The others congratulate Gervaise and then start to leave. Gervaise stands there, the excitement of her moment of triumph seeping from her.

In  the 1992 West Yorkshire Playhouse production, Gervaise was played by Kate Gartside ,

Kate Gartside

and Christabelle Dilks went across the ironing board!

Christabelle Dilks

The Three Belles


A great uniform pin-up spanking inspired by a show at this year’s Edinburgh Art’s Festival. This was found by Harry (see comments below).

Featuring the 1940’s close harmony singing that The Three Belles are renowned for, this brand new show tells the story of ‘London Life’, a fetish magazine in circulation in England before the outbreak of World War Two.

The normally-reserved singers decided to create the show when they discovered a pile of London Life magazines in Lanford’s Antiques in Albert Road in Southsea.

“The show uses real letters from the people who wrote to London Life,” explains Anneka Wass of The Three Belles. “Their stories are often funny and poignant, too.  They never spoke about it in public, but these people decided to seek fun in unconventional ways at a time when rubber, leather, and clothing was strictly rationed.”

True stories featured in the show include the woman who made herself a rubber dress from bath curtains only to nearly choke to death on rubber fumes whilst sitting in front of a fire, and the married couple who found a fondness for cross-dressing at a Christmas party!

“The background to their lives is danger,” says Sally Taylor, also a member of The Three Belles. “It’s tragi-comic.  This side of the war has never been told before.”

The Three Belles will weave vintage songs such as Gimme Some Skin, Beat Me Daddy Eight To The Bar, and Masculine Women, Feminine Men into the show.

The show, fully-titled ‘The True Story of the Secret Kinks of World War 2′ is set to premiere in July in London before transferring to the Edinburgh Fringe on August 11th.

The Three Belles read London Life and are shocked at what they find but cant resist a little giggle

Under Milk Wood

Welsh poet Dylan Thomas was born 100 years ago this year. I first came across these lines in a school copy of his “play for voices”.

Willy Nilly, postman, asleep up street, walks fourteen miles to deliver the post as he does every day of the night, and rat-a-tats hard and sharp on Mrs Willy Nilly.

Don’t spank me, please, teacher,

whimpers his wife at his side, but every night of her married life she has been late for school.

The pop artist Peter Blake – best known for his cover of the Beatles Sgt. Pepper album – has been working on a series of pictures inspired by Milk Wood since the 1980s and this year they are being exhibited for the first time. The documentary Under Milk Wood in
included his painting of Willy Nilly the postman and his wife enjoying some teacher-pupil role-play.

I’ve added a second clip of the extract being recorded in New York (where Thomas died in 1953). It’s from a TV drama called Dylan Thomas: A Poet in New York.

Spanking! I’m all for spanking!

The cast perform a song from the new Andrew Lloyd Webber musical Stephen Ward. This could be more interesting when it is actually staged of course as the scenario is a swinger’s party at which the guests pair off and play a spanking game. The show is based on a book and lyrics by Christopher Hampton who has some previous form. He wrote the play on which A Dangerous Method was based.

Charlotte Spencer (left) and Charlotte Blackledge (right) play vice girls Christine Keeler and Mandy Rice-Davies, respectively, in the show which is set in 1960s London. The quote below is from an interview that the pair gave to The Guardian.

Stephen Ward musical

…the show is funny. It’s dangerous. It’s quite exciting.” Blackledge interjects: “It’s cheeky.” Spencer laughs and shoots back: “Actually, literally.”

Update:  Rehearsing their technique? Christine and Mandy have some fun during a scene in Stephen Ward’s flat.

01 02


New Shrew

This Taming of the Shrew spanking, from a 2005 performance in Long Island, is very good. I think it shows an influence back from the Howard Keel/Kathryn Grayson Kiss Me Kate. And the actress playing Kate, Megan Yelaney, is lovely.


Check out her youtube videos for further proof of that or watch the whole play here.

London 2012

London is poised in anticipation of a mighty spectacle that is about to descend upon it…

Alex Bourne and Hannah Waddingham in Kiss Me Kate

I’m referring of course to the major new production of Kiss Me Kate that will hit the West End this autumn. (Oh well, at least the traffic should be back to normal by then).

Directed by Sir Trevor Nunn, the show is in the middle of a warm up season at Chichester and has attracted lots of favourable press coverage. Apparently Nunn is a life-long fan after watching the MGM film, starring Howard Keel and Kathryn Grayson, as a teenager:

I emerged from the Ritz Cinema that evening intoxicated with the certainty that the life of the theatre, onstage and off, was the only life I wanted to lead.

He went on to direct a student production of Taming of the Shrew at university while he was engaged to his Kate:

My student Katherine was my fiancée – an engagement fated not to last beyond us moving into the real world. Then, a few years later, The Taming of the Shrew was the first Shakespeare I was given to direct by Peter Hall for the RSC. Perhaps some would say it was by then predictable, but I married my brilliant Kate [Janet Suzman], a year later. So, I suppose I am something of an authority on how onstage life in The Shrew can influence what happens offstage, and vice versa.

I have now directed 30 of Shakespeare’s plays, and 20 musicals; so directing Kiss Me, Kate, the Shakespeare musical, could be described as inevitable.

Hannah Waddingham

As his latest Kate, Nunn has cast the formidable Hannah Waddingham – “a bodice-burster built like Boudicca” – while Alex Bourne plays her sparring partner. So far we only have a picture of the couple in a fireman’s lift pose (see top), but some of the reviews have mentioned the spanking scene:

Mr Bourne, a burly presence and a powerful voice, is perfect. This Fred could be from a silent movie-era Robin Hood. Disaster unfolds but Fred flashes insistent smiles at his audience – even while giving Lilli’s bottom a spanking.

If anyone reading this has seen the Chichester production please leave a comment below and let us know if Hannah’s taming was to your satisfaction or not.


I couldn’t do a post about KMK without a bit of actual spanking so here’s a very fine new publicity still for another production that has only just opened, this time in Utah. Harry found it and he tells me that the actress, Vanessa Ballam, was Miss Utah in 1999.


Imaginary Invalid 1995

Jean-Baptiste Poquelin (1622 – 1673), known by his stage name Molière, was a French playwright and actor who is considered to be one of the greatest masters of comedy in Western literature. I knew there was a spanking scene in at least one of his plays as I had a picture from The Imaginary Invalid (the black and white shot below) and I’d heard some reports about others. So I asked Harry if he knew anything about this subject and received the following typically brilliant response:

Imaginary Invalid 1992

“The three Moliere plays in which I can securely document spankings are as follows:

Le Malade Imaginaire (The Hypochondriac/The Imaginary Invalid), which was his last play. In the course of the action, Argan, the hypochondriac of the title, decides he is going to chastise his daughter Louison.

Malade Imaginaire North Springs (1) Malade Imaginaire North Springs (2)
Malade Imaginaire North Springs Malade Imaginaire North Springs (3)

She gets into position, but pretends to have died of fright and so evades punishment (or, preferably, has it cut short).

This is usually done as caning rather than spanking, with the girl bent over, but there is a sort of OTK version in this German production of 1999:

This is a video of another one in the same vein, but obviously very much better is the 2010 Australian student production at Rosny College!!

Malade Imaginaire 2010 Rosny College

And this one wins the prize for cuteness!

Imaginary Invalid

Le Medecin Malgre Lui (The Doctor In Spite of Himself) is an earlier comedy. The first scene features Sganarelle the woodcutter and his wife Martine, who scolds him all the time until finally he takes a stick to her. In a 2009 US student production, this was done in the manner we best enjoy; the attractive photo was used on the college’s website to publicize the show.

Medecin Malgre Lui 2009 Krys Wrenn and Amanda Gall Tidewater Comm Coll

And here is a rather feeble video version of the Medecin Malgre Lui spanking

But (IMO) the best of the lot is the spanking scene in this 2005 Italian production of Moliere’s penultimate play, Les Femmes Savantes, (The Learned Ladies) also known as Le Intellettuali.

2005 Le Intellettuali spanking press

I’ve had the above shot for a while but have only just found it in good quality.

2005 Le Intellettuali Michelangelo Dalisi and Monica Piseddu

The spanking seems to be an interpolation into the production, directed by Arture Cirillo: the characters are Clitandre (Michelangelo Dalisi) and Amanda (Monica Piseddu, below) and the production toured Italy for two and a half years before closing, with the same cast throughout at least as far as the spanking is concerned.

Intellettuali Monica Piseddu

This shot comes from a 2007 performance which I think may show understudies.

2007 intellettuali Naples

A feature of the production was the absurdly elaborate wigs the characters wore.

2005 Intellettuali Wig

But when Amanda is spanked, her wig is off: it’s a bit like raising a girl’s skirt to spank her on her panties, revealing her in deshabille. (No doubt we would all like it if he raised her skirt too, but you get the point…)

A further selection of Le Medecin Malgre Lui pictures.

Medecin Malgre Medecin Malgre Lui IMG 6034
Medecin Malgre THTRE ~3