Captain Carvallo

by Denis Cannan

January  15, 16, 17  1959

Directed by  Bess Blagden

Production Crew

Review of the time

THALIA

" They Enjoyed Themselves "

The scene is a farmhouse in disputed territory.  Here Smilja Darde awaits the return of her husband, a partisan, from a secret mission.  Instead there arrives a stranger, Professor Winke, wearing her husband's clothes.  He explains that they had to exchange identities to outwit the enemy.  Hard on his heels come Captain Carvallo and Private Gross of the enemy forces, demanding billets, and soon afterwards Darde himself returns.  Captain Carvallo and Private Gross have a weakness for the ladies, and it is a case of 'all's fair in love and war', with a sweet, brief love affair between Smilja and Carvallo to an accompaniment and gunfire 'off'.

Jean Porter was a charming and sensitive Smilja and Patrick Johnson gave a good, strong performance as Captain Carvallo, Brian Moulton played the Baron with effect: his first scene was the best.  Nicholas Sweet had the right manner for Professor Winke, but could have used more force and variety at times.  Ralph Dawes had at times exactly the right sanctimonious style for Caspar Dar; if he could have sustained it it would have been a very good performance.  Ross Workman was excellent as the typical private soldier and Clodagh O'Farrell though not quite pert enough, was nice little maid. 

The play was well produced by Bess Blagden with good pace and the set was excellent.  

Another review of the time

J.G.

" Difficult Play Well Done "

As the young officer of the title rôle, Patrick Johnson, displayed excellent timing in his portrayal of the captain who finds life in the Army not without its attractions.  He maintained  a high standard of acting throughout the play.  The honour shared by Jean Porter who, as the farmer's wife, Smilja Darde, gave a performance of touching sincerity yet with a charm and refreshing gaiety in her repartee.  Ralph Dawes as the farmer, Gaspar Darde, added a restrained and diverting touch to his interpretation of the somewhat imaginative and sanctimonious husband.   Ross Workman as Private Gross batman to the Captain added a great deal of fun whenever his duties brought him on the stage.

Acting honours should also go to Nicholas Sweet as Professor Winke. In  a difficult rôle, even for the actor of experience, his performance carried conviction, with the unexpected touches of humour adroitly handled - yet this was Mr. Sweet's first stage appearance.  He is to be congratulated on his success in a long and arduous part.  Clodagh O'Farrell as Anni and Brian Moulton a the Baron added respectively the necessary touches to pertness and conspiracy.

Lighting, costumes and properties were all admirable, and Bess Blagden, the producer, and her talented cast can congratulate themselves on a difficult task well executed.  

Another review of the time

Reviewer unknown

" Young Wick Players in Good Form "

Set in a farmhouse on disputed territory during a long civil war in a European country, the play provides opportunities for comedy in unlikely circumstances.  It affords some some fine chances for character study and the cast rise admirably to the occasion.  The costumes and scenery are outstanding.

Realistic Rôle

Jean Porter, playing Smilja Darde, wife of the farmer, Caspar, brings realism to her rôle and throughout maintains a worthy standard of acting.  In the title rôle is Patrick Johnson, who does good work as the young Army officer who believes in mixing business with pleasure.  There is a droll study of Caspar Darde by Ralph Dawes, and Brian Moulton, as the Baron, the resistance leader, also acts creditably.  Clodagh O'Farrell, as the pert and provocative Anni, pleases throughout, and Ross Workman contributes an amusing study as Private Gross.

Making his first stage appearance, and doing remarkably well, is Nicholas Sweet, son of Southwick's only woman councillor, Mrs I. J. Sweet.  He has the taxing rôle of Professor Winks.

The third and final performance is to-night.

 Sailor, Beware

by Philip King and Falkland Cary

April  15, 16, 17, 18  1959

Directed by  Frances Moulton

One review of the time

Reviewer unknown

" Amateurs with the professional touch "

Sailor, Beware, presented by The Young Wick Players at the Barn Theatre, Southwick, on Wednesday, was obviously moulded on the film interpretation of the same title, which starred Peggy Mount .  Betty Carpenter, playing Peggy Mount's part of Emma Hornett, decided that the professional interpretation was best and her masterly portrayal proved correct.  But the Young Wick's version was no pale, bloodless copy of the famous piece, which won success on stage and screen.  It was a thoroughly workmanlike, well produce comedy that raced along in good style from the beginning to the end.

Mrs. Frances Mouton, the producer, had the professional and personal assistance of Mr. Philip King, co-author of Sailor , Beware,  with Falkland Cary, and, in her own words, the aid was invaluable.  Mrs. Moulton, however, is well versed in amateur theatricals. She seeks to understand her cast, and reaching that understanding knows when to guide and when to allow a natural bent to flourish.  This she did to good effect in the case of Patricia Menheneott, who played the part of Shirley Hornett, left at the altar and saved from the effects of a 'bleeding, broken heart' by Albert Tufnell A. B., played by Barrie Bowen, rounding on the dominating Mrs. Hornett, nailing his colours of independence to the mast.

Special mention must be made of Betty Elliott's portrayal of half-mad Edie Hornett.  Her characterisation was convincing, and although her lines were delivered in tense scenes, in the midst of hilarity, she was always audible, accurately timed and acting all the time.  Henry Hornett, hen-pecked beyond measure, was a quiet, intense part and Ralph Dawes played it quietly and calmly. He was the perfect foil for loud mouthed Emma.  For a Sussex man to tackle a broad Glaswegian accent is a tough problem, but Raymond Hopper as Carnoustie Bligh, was a braw Scots laddie, down to his penny-saving meanness.  The flirtatious Daphne Pink, played by Clodagh O'Farrell, as pretty as the blooms she sells in her florist's shop, was an adequate interpretation, and the Rev. Oliver Purefoy, acted by Nicholas Sweet, was also a case of good casting.

The Wickers deserve to be praised for their courage in choosing a stage and screen hit, and putting it across deeply and cleverly etched with their own brand of talented histrionics.

One review of the time

Reviewer unknown

" A young man's dread becomes a reality "

Frances Moulton, the producer, has done some excellent casting, notably assigning to Betty carpenter the taxing rôle of Emma.  She makes a grand job of it, maintaining throughout a simmering explosiveness which bursts into eruption with alarming frequency.  Downtrodden and sentimental Edie, herself jilted 20 years previously, is divertingly played by Betty Elliott.  Hers is a gem of comedy acting throughout.  As the sailor and his bride, Barrie Bowen and Patricia Menheneott are teamed with distinct success and both contribute appreciably to the fun - though there is a telling touch of pathos here and there.  Ralph Dawes, as Henry, the bride's long-suffering father seeking solace in the company of his backyard ferrets, s also well in character, and there are clever studies by Raymond Hopper and Clodagh O'Farrell.  Ably completing the cast are Nicholas Sweet as the Re. Oliver Purefoy, who pours oil on troubled waters, and Mary Gedge, as Mrs. Lack, the Hornett's neighbour with a nose for a free cup of tea.

The company greatly appreciated the attendance of Philip King at some of the rehearsals of his play, which is made all the more enjoyable by its setting. 

The Heiress

by Ruth and Augustus Goetz

October  8, 9, 10  1959

Directed by George Porter

A Review of the time

Amateur Stage

" Interpretation was Talented "

1870 setting

The story concerns a wretched, ineffectual, but wealthy young spinster who is courted by waster.  Opposition comes from father who believes the suitor loves his daughter's money more than her.  This plot in a New York setting of 1870, smacks of pure melodrama, but so long as the actors can write the message in letters clear enough, there is much more to it than the hack entertainment provided a past generation.

The foundations of the success of this production were rewardingly cast on Jean Porter [The Heiress].  She had to generate the sensitive, retiring, genteel main character right up to and beyond her transformation into a twisted, bitter proud and inhuman creature.

Her suitor [Adrian Hedges] trod the delicate high wire of his portrayal with precision, not making the one slip that would have established beyond doubt whether he was really after her money.  His interpretation of the part allowed each member of the audience his or her own opinion, but the flavour of doubt was always there.

Credible

The resentful father who loses his wife in childbirth is no stranger to audiences of this theatrical era and it credits Patrick Johnson that yet another appearance of this old faithful character was credible.  It was his execution of the man who blamed his daughter for not being what he deemed her mother to be that treated the material from which the conclusion of the play was moulded.

It was, perhaps, unfortunate for the rest of the cast that these three characters absorb most of the audience's attention.  Their buoying up of the play by dint of integrate supported was not at all times in consciousness.  This is a bouquet to their ability for had they not done what they did as well as they did, it would quickly have been noticed.  Those who served so self-effacively were Frances Moulton, Elizabeth Penney, Patricia Menheneott, Patricia Holloway, David Dawson and Elizabeth Courtney-King.

The play's success is due in large measure to producer George Porter and his companions behind the scenes.  The set, by John Perrett, was one of the best to adorn the stage of the Barn to date.

Another review of the time

Reviewer unknown

" Her Money of Her Love? "
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FINE HEIRESS AT SOUTHWICK

Catherine who has been starved of a man's love all her life, cannot let herself believe Townsend's intentions are so mean and she agrees to elope with him.  But her love changes to bitterness and an abysmal sense of loneliness when he jilts her at the last moment.

Too Late!

Two years pass.  Then one day Townsend, who has returned from an unsuccessful search for wealth  in other parts, calls on Catherine in the hope of rekindling the old flame.  He is too late; the fore has gone, and in its place a desolate coldness reigns.

This adaptation of a Henry James novel is capital theatre and the Young Wick Players' production has much to commend it.  Above all Miss Porter's portrayal of Catherine is remarkably fine and well sustained.  She is a most impressive actress.  Patrick Johnson gives a powerful and convincing performance as the father; Adrian Hedges does extremely well as Townsend; and Frances Moulton contributes a sympathetic portrayal of a kindly aunt.

There is also good acting by Patricia Menheneott, Patricia Holloway, Elizabeth Penney, Elizabeth Courtney King, and David Dawson.

The play is produced by George Porter.

BRIGHTON AND HOVE GAZETTE

THESPIS

" Their Best to Date "

Jean Porter gave a finely controlled and sensitive performance as Catherine, skilfully tracing her slow evolution from the shy, dull and gauche daughter of a domineering father, to the hardened, somewhat embittered and completely self-possessed young woman who calmly bolted the door against her worthless suitor, leaving him to knock and call for her in vain.

The suitor, Morris Townsend, was played in a suave and assured manner by Adrian Hedges while Frances Moulton made Lavinia Penniman, Catherine's Aunt and confidante, a fluttering and cheerfully efficient person.  This rather novel reading of the part was a pleasant and refreshing one, providing a much needed touch of lightness to the play.

The finest individual performance came from Patrick Johnson as Dr Austin Sloper.  This is a rewarding part and full of opportunity but calling for a high degree of ability. That he tended to be over-dominant at times which threw the play somewhat out of balance, must be marked against producer George Porter: rather than the actor.  To be a first class producer calls for considerable experience and knowledge, and I have no doubt that George Porter has learned a lot from directing this rather difficult play.

I should like to give a little word of praise to Patricia Menheneott for her study of Maria, the parlour maid.  Mrs. Elizabeth Almond and her daughter Marian were competently played by Elizabeth Penney and Patricia Holloway, as were the parts of Arthur Townsend and Mrs. Montgomery by David Dawson and Elizabeth Courtney-King.