Barrie Jerram

Peter Whelan's play movingly tells the story of the men of Accrington who rushed to volunteer for service during the First World War and the effect it had on the women left behind.  t is a tale that combines the horrors of war - the battlefield scenes being most realistically achieved - with two doomed love affairs.  Despite the seriousness of its subject the evening provided a great deal of humour, mainly from the neigbours, Sarah and Bertha. 

The play was unknown to me and I therefore came to the theatre with no expectations other than of seeing a production of the usual standard that I have come to expect from this company.  Were my expectations met?  Sadly, not fully.  whist the production was of a high standard it fell short of being a great one such as Kindertransport. The over-riding fault lay with the lack of vocal projection.  There were many occasions when words were indistinct, as in the case of the young Stuart Isaac in his final scene with May.  Up to this point he had turned in a fine performance.  The problem of audibility was not helped, at times, by the cast having to compete with the sound effects.

The simplistic set and the skilful use of projected slides was most effective but I felt the production lost something by being under-lit on a number of occasions.  Whilst I understood the need for this and for the misty effect to create 'atmosphere' it did result in the loss of facial expressions and also distanced the audience from the action, a lot of which took place at the rear of the stage, and prevented us from being drawn into the play.  It might have been better to stage it upon the floor of the theatre.

The strength of the Wick Theatre's production lay with the three excellent performances from the actresses playing May, Eva, and Sarah.  Lex Hills (May) managed to capture the anguish of the older woman's love for the younger Tom and her stubborn refusal to compromise.  I particularly liked the interplay between her and Sarena Brand (Eva).  There was a very touching scene between them where May, ignorant of sexual matters seeks guidance from the younger but experienced girl.  Serena's performance truly had the essence of Eva - a warm, loving and honest young girl - and contributed greatly to the play's humour, as did the last of the trio, Zoe Edden, as Sarah.  Zoe bringing with her a great comic talent that we saw in Dancing at Lughnasa They were well supported by the rest of the company with perhaps, the male acting honours going to Mark Best as Ralph, contrasting his jack-in-lad behaviour with the tender love he felt for Eva.

Jaime Hailstone

I have to admit that the world of Ray Cooney, which seems to be full of vicars dropping their trousers and hilarious consequences, does leave me a little cold.  However there are many [people who love this sort of thing and this is a perfectly executed example of a genre that is not as easy as it looks.  the problems start when government minister Richard Willey (John Robinson) checks into the hotel for a night of illicit passion with secretary Jane Worthington (Kati Szeless) and discovers a body (Adrian Kenward) stuck in the sash window.  Richard's assistant George Pigden (Peter Thompson) is summoned, but they have to keep the body hidden from the hotel manager (Ralph Dawes) and the maid (Joan Bearman).  Fortunately they have a helpful waiter (David Goodger) on hand to provide wheel chairs, champagne and oysters.

Things start to get really complicated with the arrival of Jane's jealous husband (Jason Tubbs), Richard's wife (Rosemary Mose) and  Nurse Foster (Jenny Burtenshaw).  Directed by Betty Dawes, it had the audience howling with laughter as things progressively went from bad to worse for the beleaguered politician, particularly when the body turned out to be very much alive.

All in all, it was another sure- fire winner for the prolific Wick Theatre Company.

     The Secret Rapture 

by David Hare

August 6 - 9  2003

directed by

John Garland

The play seems to have echoes of my own life. When I first saw it I was part of the money-grabbing culture, working unhappily as a computer programmer.  A few years later I took the part of Irwin, by which time I was training as a psychiatric nurse.  It was a useful insight into the way another person's behaviour affects another and  became increasingly aware of the perils of trying to please others.  Love turns to obsessive behaviour.  Is Isobel the victim here, or does she bring fate upon herself?

I am extremely lucky to have had great support from both my cast and from behind the scenes for this, my Directorial debut at the Barn.  I would, however, especially like to thanks Peta Taylor who saved the show by stepping in a short notice and who has been rehearsing every night since!"

Stephen Critchett

As Director John Garland explains: "The Secret Rapture like so many of David Hare's plays, appears to have a political theme.  Set in the 'get-rich-quick' 1980s, it explores the lengths people will go to in order to achieve their goals.  The central character [Isobel Glass, played by Peta Taylor] is one of absolute goodness, always trying to do the right thing.  Those around her are quick to exploit this, manipulating her to their benefit.  It is therefore a play about emotional blackmail and dysfunctional relationships."  Indeed the part of Isobel was played to a tee by Peta.  Her portrayal of the well-meaning but ultimately doomed Isobel was utterly convincing and provoked sympathy as she came to terms with, firstly her father's death, then the break-up of her relationship with lover and business partner Irwin Posner [a heartfelt, flawless performance from Philip Balding].  Isobel was also faced with rescuing her alcoholic step-mother Katharine Glass [a superb performance of a hopeless loud-mouth soak by Katie Brownings, sometimes depressing, always attention grabbing] from oblivion.  As if that were not enough to put up with, Isobel and Irwin's design agency goes to the wall following an over-ambitious expansion plan.

High-flying Marion French, a junior minister in Margaret Thatcher's government, was the exact opposite of her gentle, caring sister Isobel.  Self-centered and driven, she understandably didn't evoke the same level of empathy from the audience, politicians not being a popular breed.  Pat Lyne played the scheming Marion with great skill and delivered one of the plays' most poignant lines after her sisters meets her maker.  Marion's creepy, minxy PA, Rhonda [a delightfully energetic, amusing performance by Judith Berrill] says: "It seems everyone valued her" (Isobel).  To which Marion replies:  "Why does everyone think it's so smart to be poor?!"  Marion's hen-pecked husband Tom was yet another highlight:  Bob Ryder's mannerisms brought both amusement and suspicion to the role of the awkward chap standing in his wife's shadow; but at the same time the person responsible for the ill-fated business decision to invest in Isobel's company.

Combined with the lighting, set and intimate performance 'in the round', the package was well worth the investment.

WEST SUSSEX COUNTY TIMES

Jeremy Malies

There are six characters, all of whom prove credible, resourceful and engaging.  It would be difficult to criticise any of them.  The most demanding role is that of Irwin Posner played by Philip Balding.  Philip murders his estranged lover [Peta Taylor] in the play's most 'iffy' moment.  His presence and wonderful diction prevented the scene from descending into pure 'ham'.  Bob Ryder proved a riot of  different , deceptive gestures as Pat's husband, Tom.  is character was a worthless and corrupt entrepreneur who has ostensibly found religion and become a Baptist minister with a penchant for total immersion, an enthusiasm that has wreaked havoc on the upkeep of his truly horrible polyester suits. 

Criticisms?  I hardly had any: this was a slick intelligent production.  As Pat Lyne's power-dressing secretary, Judith Berrill was grossly under-cast a a servile PA.  The scenery and props might have been more imaginative.  Returning to the many positive features, the lighting by Mike Medway and Janice Goode was simple but effective, most notably in the murder scene.  Kate Brownings played Katherine, the black sheep of the family, with much poise.  I'm told that acting drunk and investing expletives with conviction are two of the hardest things to pull of on stage.  Brownings drew on excellent technique and rose to the challenge with aplomb.  Directed by John Garland, this was a brave choice by the Wick Theatre Company.

Words and Music

Gordon Bull

It revolves around the innocent and nice Isobel (scintillatingly played by stand-in Peta Taylor) trying to avoid giving offence even at cost to herself.  She does her best to deflect brother-in-law Tom, as he attempts to get her to sign away her own business to become a partner in his parlous company run jointly with his wife.  Her sister reviles her for the care of her late remarried father and for her continuing compassionate care for the louche step‑widow.  Against all odds Isobel fails to rise to the bait and continues through to the dramatic end, as the greedy relatives’ motives are exposed to themselves by her unprovoked and gentle reactions. 

Her brother-in-law Tom (Bob Ryder) performs brilliantly as the wet, evangelical, born-again Christian, whose own comments on any development good or bad are limited to ‘Alleluia’ or ‘Thanks to Jesus’ and ‘God’s Will’ with no other conviction. Isobel’s retort ‘but who perished the elastic?’ completely takes the wind from his sails after one such revelation, and with his high-Tory ministerial wife Marion (Pat Lyne) both play their black-mailing parts very effectively.

Katherine (Kate Brownings) the widow living off their late father gives cause to the family’s internecine war.  But Isobel, though unappreciated, still defends her step-mother against all-comers.  Marion’s PA, Rhonda (Judith Berrill) has a delightful walk-on part with just a few telling words which completely expose her boss and the family for what they are, as she neatly disappears in shock-horror: ‘What have I said?’.  A lovely moment.

Whose ends are being served and who is made to suffer?  I leave you to guess.  A good play well acted. 

The Dresser

by Ronald Harwood

October 8 - 11  2003

directed by

Pat Lyne 

[this is Pat's directorial debut at the Barn]

Nowadays we tend to laugh a little at this strange breed, represented by 'Sir' in Ronald Harwood's play.  There is no denying that their obsessions and single-mindedness often made them ridiculous, so they were often written off by London critics as megalomaniacs and hams.  But in truth, many of them were extraordinary and very talented.

The Dresser is of course about the backstage drama of one such imaginary touring company, not least the struggle of Sir's loyal assistant, Norman, to ensure that the show does indeed go on.  It has been a popular stage play ever since it opened in 1980, featuring Tom Courtney and Freddie Jones.  And it became even better known in the faithful film adaptation, when Courtney was joined by Albert Finney. The film won many awards and is now a British cinema classic. However, this is a work essentially about the life of the theatre - and there is no better place to enjoy it!

Cast

Barrie Jerram

Once again the admirable Wick Theatre Company has come up with an outstanding production, this time under the skilful direction of Patricia Lyne.

Set backstage in a northern theatre during the Second World War, Ronald Harwood’s fine play deals with the breakdown through nervous exhaustion of Sir, an actor/manager of the old school, during a performance of King Lear, whose madness is mirrored by his own.  It explores his relationship with the rest of his company and, in particular, with Norman, his dresser. The play calls for two leading men of exceptional acting talent to successfully fill these roles and this production had two such actors.

In the role of ‘Sir’, David Creedon gave a powerful performance reflecting the many mood swings of the old actor struggling to play Lear and run his company at the same time whilst drained of all energy, one moment having to rant and rave, the next weeping bitterly.  By contrast Bob Ryder’s portrayal of Norman was full of subtle nuances.  It required a great degree of sensitivity to avoid the trap of camping the part up outrageously. Norman’s background is that he too has suffered a breakdown in the past and his world has shrunk to that of Sir and the theatre.  It is only in this environment that he feel safe and at home.  The character was captured beautifully by Mr. Ryder, with both the comic and sad sides of Norman being fully realised.

Excellent support to the main roles was given from the rest of the cast with Sheelagh Baker, as Her Ladyship, leading the way.

The only criticism I would make is that the two leads, on occasions, both tended to let their voices drop at the end of sentences, making their words inaudible.  As this is a problem experienced here before, it may be that the fault lies with the acoustics and is something that directors should be made aware of in future productions.

WEST SUSSEX COUNTY TIMES

Jeremy Malies

The Wick Theatre Company staged an outstanding production of Ronald Harwood's The Dresser at the Barn, Southwick, last week. The piece is treasured for a 1980s screen version starring Albert Finney and Tom Courtney.  Not having seen the film or a stage version, I came with no expectations or yardsticks and was seduced within a few moments.  The action takes place in the dressing room of an aging actor manager at a grim provincial theatre in the winter of 1942.  ‘Sir’ is suffering from panic attacks and is reluctant to go on stage as the lead in ‘King Lear’.  Eventually he does and we see a fraction of the stage from its wings.

Pat Lyne's version is shot through with innovative, endearing performances, all of them feeding off Bob Ryder, who was massive in the title role.  Ryder was domineering, tactile, tender, and dismissive of his master as the situation demanded.  His frustrations and unswerving loyalty stood out in bold relief during the final moments where he was both vitriolic at his employer’s ingratitude and prostrate with grief at the actor’s death.   It was the most subtle and compelling dramatic compound I have seen all year.

As ‘Sir’, David Creedon has all the technical resources and intelligence to appear opposite Ryder.  His recovery, from initial despondency surrounding mental illness to a buoyancy before the storm scene, teemed with invention.  Both men were outstanding when their characters lapsed into snatches of Shakespearian dialogue from the major tragedies.

The supporting cast was also flawless.  Playing Irene, Kati Szeless proved convincing when making ‘Sir’ quiver with lust, while Sheelagh Baker was sympathetic as a loyal wife and disgruntled Cordelia. Patricia Lyne injected the piece with many witty touches, none more original and disarming than ‘Sir’ spitting on his hands before lifting Cordelia as if he was about to perform a clean and jerk.

Mike Medway turns out consistently flawless lighting designs at the Barn covering everything from drama to musicals and operetta.  Even by his high standards the final fade out which caught Norman as if in a frieze was inspired.  The production team should be congratulated on the set.  It was so redolent of the '40s and awful in its dinginess that I began visualising the bleakness of the surrounding town and the actors’ shabby digs.

What is Sir’s advice to David Goodger as he prepares to play Fool for the first time? ‘Pace, pace, pace.’ The evening was pacey, intense and a sustained joy.

Words and Music

Gordon Bull

Charley's Aunt 

by Brandon Thomas

December 27, 29, 30  2003

January 1 - 3 2004

directed by

Tony Muzzall 

The reason for its popularity is easy to see - put a man in a dress to help out some friends and wait for the confusion and complications to arrive -they undoubtedly will!  It matters not that the social etiquette no longer dictates the need of chaperones [the cause of the action], the situation is timeless.  The humour comes from embarrassment this situation causes.  Long may the simple things in life continue to amuse.

Throughout the past century Charley's Aunt  has seen many revisions.  This has resulted in other characters assuming the role of the 'aunt'.  In the musical version, starring Norman Wisdom, Charley becomes his own aunt [as he does in the film version starring Arthur Askey].  In a television production Eric Sykes, playing the role of Brassett, is persuaded to assume the garb of 'auntie'.  In the Wick version I have kept to the original and let Babbs retain the honour of becoming "Charley's Aunt, from Brazil, where the nuts come from".

Cast

Barrie Jerram

As Christmastime is associated with chestnuts it is perhaps appropriate that the Wick Theatre Company has chosen an old chestnut for their festive offering.  Brandon Thomas' classic farce is over one hundred years old and even evokes an age when it was considered most improper for young men to entertain ay young lady in their rooms without the presence of suitable chaperone.  it is on this situation that the play is founded.  Jack and Charley, two students at Oxford, take advantage of the imminent arrival of Charley's Ant from Brazil, to invite Kitty and Amy, the objects of their affections, to lunch in their college rooms.  However, the aunt is delayed and they are forced to coerce one of their fellow students to dress up and impersonate the Aunt in the interests of propriety.  True to all farces mayhem follows.

Sadly the play shows its age and the writing lacks the wit to work well for present day audiences.  Although there  were echoes of Oscar Wilde's Importance of Being Ernest, in so much as we had two men struggling against social restrictions of the  times to court their young ladies, the text was far inferior.  In the programme notes the Director said that he chose the original version rather than the subsequent revised versions.  One wonders if the cast would not have been better served by one of these.

Whilst the play moved at a lively pace it did occasionally lead to lines being rushed and losing clarity. On the night I attended the last line of the play proved to be an anti-climax and needed to be pointed more to be effective.  he hard working cast strove valiantly to extract the maximum humour from the piece.  Whilst they were successful in the set pieces of 'business' it was felt that they were let down by the writing.  The evening provided amused smiles rather than hearty laughter.

WEST SUSSEX COUNTY TIMES

Jeremy Malies

The Wick Theatre company produced Charley’s Aunt at the Barn Theatre in Southwick last week.  This late Victorian workhorse of a farce offers plenty of opportunities for innovation and Tony Muzzall’s intelligent direction brought out stylish, vivid performances from all of the principals.  Mark Best, who has an uncanny resemblance to Philip Seymour Hoffman, was a tower of strength as Fancourt Babberley and the eponymous cross dresser.  It can be an intimidating role having been played by an assortment of legends ranging from Jack Benny to Norman Wisdom, Roddy McDowall to Alec Guinness.  Best rose to the challenge admirably, giving the piece a few subtle Some Like It Hot overtones, particularly with his indignation at being redressed by Jack and Charley when he leaves the dinner party.  He maintained a twittering, fluty delivery throughout and was particularly resourceful when commenting on the action and emphasising double meanings. 

Maria Skinner and Jenny Burtenshaw were suitably decorative as the female love interests with Burtenshaw being assured and wonderfully playful when her suitor’s proposal is interrupted.  Rosemary Mose was feisty and teasing in her twin parts of Mrs. Beverley-Smythe and Charley’s real aunt.  Like Best, she was alive to every scrap of dramatic irony.  Peter Thompson found personable and convincing traits in his role as a ramrod straight ex-army officer but dithering, indulgent father.  He had a winning manner with his malleable facial gestures and was a flurry of moustache twirling angst.

Criticisms?  Only a few cavils.  Set in 1893, the production’s main piece of incidental music is Fats Waller’s Ain’t Misbehavin’.  Waller once said that he composed the piece ‘in a long half hour and a short bottle of gin’. But he wrote it in 1929, almost 40 years after the action here.  One other observation, the piece sorely needed a change of scenery for Act III.

The production abounded in inventive stagecraft and linguistic subtleties.  It underlines the strength-in-depth of one of the most accomplished amateur drama companies in the county.

Words and Music

Gordon Bull

Camp it was, which Brandon Thomas’ play has to be nowadays, set as it is out of time.  But it could have been more so.  Pantomimic characters must surely be larger than life, so the initial scenes were caught between two stools with some rushed nervous intercourse between college undergrads Jack (Rols Ham-Riche) and Charles (John Garland) where good projection was essential.  The opening soliloquy lacked stage direction and relief only came with the arrival of Brassett (Simon Druce), the quiet-voiced butler and Jack’s father Sir Francis (Peter Thompson) to settle things down.  The arrival of the two unchaperoned young ladies caused the stir since Charley's’ Aunt, Donna Lucia (Rosemary Mose) had messaged to say she would not be on time and propriety demanded that college friend Babbs (Mark Best) step into the breech.

Enter the true dame suitably kitted out, wig an all, and entered into with great sprit.  Effectively convincing the girls, he drew the jealousy of their beaux as he received kisses and hugs of genuine affection.  Meanwhile Sir Francis, having been earlier primed by his son that that the aunt was rich, plied his suit but, thankfully was rejected.  Nor so Spettigue (John Barham) the guardian of the ladies who also turned up and pursued his opportunities with verve.  Pretending to agree to an engagement Babbs, as aunt manages to unwillingly wheedle out of him a written agreement to his charges becoming affianced to the lads.  When the real aunt arrives all is chaos and she keeps Mum for a while   Amazingly, her companion is none other than an old treasured girl friend of Babbs, Ella Delahay (K. Foulsham). Miss Foulsham certainly knew her words, if only her sureness had been matched with more projection and definition, it would have added some sparkle.  Jenny Burtenshaw and Maria Skinner were the two capable lovelies Kitty and Amy and, as with the cast as a whole, were beautifully costumed in the period.  You can imagine the scene that ensued when Donna Lucia revealed her true self, but other than Spettigue, all ended up neatly coupled.  Even my ten year old thought it was a scream!.