Woldingham Players - Reviews

Rough Justice

13-16 May 2009

Rating ****

This is a long and rather lengthy courtroom drama so all the more credit to director Tony Dent and cast for building the tension.

James Highwood is the established host of a television show which deals with suspected miscarriages of justice so, when he finds himself the defendant in court he chooses to conduct his own defence.
His alleged crime is the smothering of his nine-month old very brain- damaged son, to which he readily admits, but the play explores the possibility that he may be covering up for someone else, made all too clear during his verbal fisticuffs with prosecutor Margaret Casely QC.

It does not help his cause that Mrs Casely is a well-known Catholic pro- lifer.

Simon de Cintra and Delyse Borley engage in a most realistic ping-pong battle as defendant and prosecutor. Both are most able actors and surmount the difficulty of learning a huge number of lines and delivering them with understanding - he swinging between bombast and emotion and she, steely in the main, unbending a little to show her more human side.

Just as Casely comes under fire from Highwood, so does the judicial system and the judge. John Lacy kept Mr Justice Healy on a very even keel but might have shown a little more anger when provoked. His requests to silence the defendant who was off on one of his rants, were initially just a little too genteel.

The play opens to the evidence of Det. Sgt Ramsden (Ros Heath) who lays out the bones of the accusation with Jim Rogers following up as the Home Office pathologist Dr Kerr, entwining his professional opinion with sympathy for the predicament of a future in which the baby would never be anything more than a vegetable. Christine Bower was professional, clear and unruffled as Dr Radzinski whom the Highwoods had consulted for a prognosis of their son's life.

Pippa Martin was court usher but served the Players well with the design of a truly marvellous set which skilfully combined the impressive court room with a small side room.

As Jeremy Ackroyd, the Highwood's family solicitor, Colin Brown clearly showed his difficulty in bridging his professional duties with his obvious affection for the couple and Olivia Beckwith brought fear and emotion to the defendant's wife, Jean, to whom the playwright gives insufficient opportunity to establish her character but here it was achieved, against the odds.

Theo Spring
4 stars

Bedroom Farce

Spring Production 2008

Rating ****

Alan Ayckbourn's reputation for setting plays in real time but in different places is very evident here where three bedrooms in three different houses need to be accommodated on stage. Set Designers David Martin and Colin Brown used rostra to raise Ernest and Delia's room across the back of the set, leaving stage left free for Nick and Jan's room and stage right for Malcolm and Kate. Care had been taken with duvets to help establish the kind of homes imagined.

The connecting figure to all three rooms is Trevor who is Ernest and Delia's son, his ex-girlfriend is Jan and he is on shaky ground with his wife Susannah. The couple are invited to a party given by Malcolm and Kate. Steve Jacobs as Trevor brought a boyish ability to trample through people's homes and he was causing whilst Frances Roberson's Susannah was appropriately timid - chanting her mantra to boost her self-confidence whenever she could.

Still playing childish pranks, the party-givers scampered about their room hiding shoes and squirting foam. Peter Hogg created a rather over-manic Malcolm but did amusing justice to his attempts to assemble a flat pack, using anything but simple instructions. Delyse Borley as his wife Kate showed a grown up side as she sympathised with Trevor and tried to help a friend in need.

Nick is laid up with a bad back with James Peacock slightly overdoing the reactions to pain caused by any movement, but used good comic timing with the retrieval of his fallen book. Sarah Greenwood is his wife, Jan, who goes to the party without him and, in a brief rekindling of her old attractior for Trevor, causes the mayhem that ensues.

The calm above this storm is the sensible Delia, so well portrayed by Anthea Chaundy as the lady whose years have brought experience in dealing with all situations, even her slightly dithery husband Ernest - captured to a tee by Jim Rogers.

Technical gremlins got into the stage phones on Friday - instruments which can be the bane of backstage or sound - but these were most professionally overcome.

Theo Spring

Viceroy Sarah

Autumn Production 2007

Well, here we go again! This review would seem to be on a par with last year's production, The Rivals, which had a cast of 16 and 14 scenes, and lots of words. This year The Players autumn production had a cast of 18 and even more words. Again the story (or plot) was all about rivalry, but of a different kind - that between Queen Anne and the Duchess of Marlborough. The author of the play, Norman Ginsbury, clearly a fan of the Duchess, felt that her reputation as a scolding battleaxe was undeserved, and her influence on the irresolute Queen benefited the monarchy.

The warring ladies dominate the play. The men barely get a look in despite their standing in Court. The plot is one of intrigue, jealousy and selfish scheming put to the test.

The background of Viceroy Sarah has been described in the preview articles in the last two issues of this magazine, so lets see how the cast coped with this interpretation of our period of early 18th C history.

The opening at Windsor Castle set the royal scene. The regal entry of Queen Anne (alias Mrs. Morley) played by Sarah Greenwood was just right, as was her well modulated voice and her air of indecisiveness throughout the play. She maintained her dignity and pride without faltering despite being unduly provoked by the fiery Duchess. The two ladies-in-waiting, both seemingly loyal to the Queen, were well contrasted - Mrs. Danvers, played by Anthea Chaundy, and Abigail Hill (later Mrs. Masham) played by Joanne Saville. The one homely and considerate, the other carefully masking her duplicity. Abigail's ambition to move up in the world as the play went on was a fine portrayal.

In comes the Prince of Denmark ,Anne's dutiful husband, to keep a watchful eye on his wife and see how she is coping with the intrigue going on all around her. David Martin looked the part, empty of head and full of belly, but with a full understanding of his wife's woes.

In sweeps Sarah, Duchess of Marlborough, (alias Mrs. Freeman) looking quite beautiful and commanding, displaying at once her charm, wit and arrogance in that order. Delyse Borley dominates throughout until her final come-uppance, portraying her friendship with the Queen, yet taking anger and deceit in her stride as the plot unfolds. A excellent performance, well judged and using the stage to full effect.

The holder of the Governments' purse strings, and tipster to boot, Lord Godolphin enters with news of the war in Europe; he is a sight to behold with his droopy wig and colour of money attire, well played by Colin Brown. He is followed by colleagues Robert Harley and Mr. St. John; one slippery as an eel with facial expressions to suit, the other as smooth as they come, in the capable hands of Andrew Robinson and Nick Fanthorpe.

Suddenly there appears war-weary Colonel Parke, aide to the Duke, to impart news of victory at Blenheim, with John Lacy at his best dressed in full military apparel.

Then, in the next scene at Windsor Lodge, we see the four winsome but quarrelsome daughters of the Duchess revelling in topical games played captivatingly by Frances Robertson, Felicity Henson, Marika Tozer and Jessica Hay.

At last we see the Duke himself, restrained and unwilling to get involved with the prevailing political intrigue; Tony Dent did not find it easy to be so subdued, but admirably coped with the restrictions imposed on him.

Then we have the man we had been waiting for - the dashing, flamboyant Vanbrugh, the uninhibited, talented playwright and architect - Mr. Blenheim himself, the creator of a palace to celebrate the Duke's great victories. Gary Pollak in fine acting style impressed all apart from the Duchess who wanted 'a sweet small house' not a monument.

Sarah's pleading with the distressed Queen, which ended with her dismissal, was touchingly done. A poignant letter from the past closed the story with the Duke and Duchess in a fond embrace.

One must not overlook the footmen, all four of them - John Lowndes, Nick and Andrew Fanthorpe, and Jim Rogers - carried out their duties respectfully.

The set design by Pippa Martin must have special mention. Three separate settings of a turret in Windsor Castle, a room in Kensington Palace, and a chamber in Windsor Lodge, were created by imaginative use of curtains, pictures, draperies and paintings. Very effective. The set was erected and painted by David Martin, Colin Brown and Zoe Hay.

Our thanks go to the Stage Manager, David Martin, assisted by Zoe Hay, lighting by Andrew Kozminski, sound by Rob Hay, make-up by Elizabeth Fuller and prompt Sue Simpson. Beryl Pollak and Lorna Brown worked wonders providing the Props, and Susie Reay-Jones and Joan Oliver co-ordinated and adapted the period costumes, making sure that they all fitted the characters to a T. Altogether a group of backstagers who are indispensable to a play of this kind.

Congratulations to producer and director, Christine Bower, for choosing the play, staging it so expertly and entertaining us with an episode in our history seen in a new light.

A fitting production to commemorate The Woldingham Players' 80th anniversary.

RIS

The Rivals

Spring Production 2006

Help! Help! How does one review a play comprising five Acts and fourteen Scenes, and a large cast? With difficulty. And all those words - but that is not surprising as Sheridan was Irish and his father a teacher of elocution; even at the age of 24, when he wrote this play, he had the makings of a politician which he duly became in 1782 on being elected as an MP. He became notorious for his great speeches and rounded oratory. Words were his driving force.

The cast coped admirably and took the rather stilted language and diction in its stride, and unravelled the convolutions of amorous dalliances prevalent in high society. There is nothing like rivalry in love for setting in motion the imagination of novelists and playwrights and R.B. Sheridan was no exception.

Here we have Captain Jack Absolute, heir to a fortune, dressed as a penniless ensign called Beverley (for want of a better name) to court Lydia Languish, young and beautiful, who is set on marrying the said Beverley despite the fact that the disapproval of her tough old aunt, Mrs. Malaprop, will cost Lydia her legacy. Peter Hogg took the dual role in his stride despite a tendency to shout on being upset, when a raised voice would have sufficed. Tamsin Reeve looked just right for the part of Lydia in her determination to marry a man who despises wealth, and let the audience know in no uncertain manner. Mrs. Malaprop, the genius of the misapplied word, was cleverly portrayed by Christine Bower who made it clear that she knew all about the affairs of the heart; her use of the stage, her facial expressions, and her use of the twirling fan were a sights not to be missed.

Then rivalry came to the fore and the ball started rolling. Lydia is being courted by Jack Absolute's father, Sir Anthony Absolute; also by Acres, played by David Martin, who took the change from uncouth country squire to urban life befitting a man in love. Acres soon made his presence felt and used his resonant voice to good effect. Also she was courted by Sir Lucius O¹Trigger to whom Mrs. Malaprop had given her middle-aged heart. Sir Lucius, trigger happy, due to his propensity for pistols and swords in order to get his way, was dressed in black for the part and Gary Pollak very adroitly demonstrated his antagonism towards his rivals. As for Sir Anthony, hasty, stubborn and irascible in his reactions on being thwarted in his plans by his son¹s seeming unwillingness to marry Lydia. He is driven into a frenzy time and time again and, as played by Tony Dent, a truly believable frustrated father. He was entirely in character and moved around the stage as only a gout-ridden roue would do.

Another pair of lovers, Faulkland and Julia, have their own peculiar difficulties - her high spirits, fondness for singing and dancing, bringing Faulkland's jealousy to the fore and arguments ensue. In fact neither can be happy without each other. Joanne Saville¹s movements on and off the stage and quickness of delivery portrayed her agitation to a T. while Andrew Robinson¹s fretfulness and dithering was a sight to behold.

In and out weave the servants, Lucy and Fag, gleefully making money out of the follies of their betters. Fag, Jack's servant, as played by John Lacy, was everywhere, and his voice carried well as he moved back and forth on the stage. Lucy, Lydia¹s maid, pertly portrayed by Vicki Stanbury, revelled in the comings and goings.

Anthony Goddard made his entrance at the start as a coachman but later cleverly took to being Acres' servant. The two Fanthorpe boys well timed their entrances and exits.

The clever set designed by Pippa Martin had an appropriate backcloth of Georgian Bath; what John Wood, the architect of the world¹s first crescent built in the early 1770's, just before this play was written, would have made of the bisected terraced houses is anybodys guess. The stage was well lit by Andrew Kozminski and the props for the interiors were set in shadow by Beryl Pollak and Lorna Brown.

Wow! Those costumes and wigs. All in period and once on, the actors performed entirely in character to the manner born. Thanks to Sue Simpson and Joan Oliver for choosing the costumes and for fitting them; also to Ania Kozminski for adding the makeup to suit the period.

Congratulations to Producer David Fanthorpe for putting together this mannered play with so many scenes and for directing a most challenging comedy, aided and abetted by Colin Brown who, as Stage Manager, ensured that all the performances went smoothly.

RIS

"Sailor, Beware" by Philip King and Falkland Cary

Autumn Production 2004

Criticism by Roger Simpson
What a performance! And, what a household - a family of tea drinkers run by a sharp tongued, raucous, houseproud matriarch by the name of Emma Hornett, full of bitterness, fuming and railing at her hapless husband Henry, ferret mad and wifeworn; just tolerant of Henry's living-in spinster sister Edie with a lost love past - her Great Sorrow - not to be forgotten; saddened and exasperated by her adorable daughter Shirley who has fallen for a hearty rumbustious orphan sailor, Albert Tufnell, who pines for a home life which he has never had but heard all about from shipmates.

The play opened on the day before the wedding of Albert and Shirley, setting the scene for the misunderstandings to come. We saw the first of many short solo entries and exits by Edie who whimpers, scampers, scuttles and is tremulous and squeally - all brought about by her memories of being jilted at the alter of love; a cameo part perfectly played and which alluded to the drama to come - Berry Butler at her best. We got the full force of Emma's sharp tongue directed at downtodden Henry and ever-so-nosy Florrie Lack, the 'will miss nothing' neighbour, very slightly giggly, more than slightly tactless, played fully in character by Rosalind Martin. Albert, all of a sudden burst in, startling the ladies, followed by his best man, the self-effacing AB Carnoustie Bligh, the quiet one and wary of the girls, as witness his cautious reaction to the chief bridesmaid, the sexy vibrant eyecatching Daphne Pink. Albert, played by Luke Goodliffe, was a delight to behold; his use of the stage and his movements around it were wholly in character with his robust nature. Carnoustie, in the capable hands of Joe O'Keeffe, was the perfect foil to Albert and he kept his Scottishness even under pressure from Emma's verbal assaults. Daphne, played by Jo Hart, was pert and seductive and she enjoyed teasing Carnoustie. Shirley, the bride-to-be, entered just as Albert was tending to Daphne's laddered nylons, and a touch of jealousy was added to her uncertainty, knowing that Albert was not approved of by her Mum, and because of a secret which she had not divulged to her fiance. The part is a difficult one - being terribly in love, yet unsure of the future, having been told that she has inherited her mother's bossy nature - but well portrayed by Katherine Turner. The snappy endings to Act and first part of Act 2 were just right and one wondered how the wedding day would go.

The curtain rose on the wedding day itself with Daphne and Carnoustie jousting - the one moving in, the other moving away, only to be interrupted by Emma dressed to the nines but still apprehensive and belligerent. The chaos of the morning was alleviated by some fine acting, the presence of Mrs. Lack dressed rakishly, and the incomparable Edie who dashed in and out gulping, waggling and gurgling - and off to the church they all went. Then Albert's poignant ending to Scene 2 with the singing of "How could you treat a poor maiden so" - Albert had opted out of being spliced.

So to the last act where calamity had set in and Shirley returned from the church unwed; the post-mortem began in earnest. At its height Albert slowly entered, with a gasp from the audience, and the drama unfolded aided and abetted by the Reverend Purefoy who intruded unobtrusively into the family home, hoping to find out what it was all about and to get the wedding bells going again. Purefoy, played by John Branston, was a little ponderous in his movements and his delivery, with the effect of slowing down the action of the play which had been cracking along at a fair pace.
Hearing of the bride's deceit about the future matrimonial home, his reaction could have been more dramatic. Then we had Albert's memorable speech on the reasons why he had ducked the wedding service, his upbringing and his concern that Shirley may be a chip off the old block. Emma's contriteness on hearing Henry's fondness for her, despite everything, was endearing.

This brings me to the two main characters. Emma, acted by Jennie Branston, set the tone and pace of the comedy right from the teapot episode at the start of the play up to the reconciliation with Albert at the end. Her presence was dominant throughout, an amazing feat of acting and stage movement, hurling abuse in a series of whirlwind speeches, mainly directed at her husband; why Henry did not throttle her on the set I do not know.

Henry, as portrayed by Tony Dent, withstood the barrage and came out on top; his facial expressions were a treat to behold, his drunken hornpipe dancing a welcome diversion and his reaction - 'Have you been drinking?' on being kissed by Emma - at the end was most apt.

This comedy, produced by Christine Bower and Berry Butler working together, could not have been an easy ride, yet they achieved the pace and presentation that the play demanded, ably helped by good stage management. Hats and costumes were well varied to suit the characters. The set, even with its footprint-like papered walls, was appropriate to the Fifties, complete with props carefully thought out and well placed.

Altogether an entertaining production which should have been on for a week for the whole village to see the skills of The Players.