Ciphers

by Nick Young

March 31 - April 1, 2, 3 2004

Directed by

Nick Young

Barrie Jerram

The Wick Theatre Company in premiering this play were fortunate enough to have Nick Young as director. His firm hand ensured that the action moved along at a good pace and he was able to extract so many fine performances from the large cast. Bob Ryder made Bacon a man of great dignity whilst Judith Berrill’s Elizabeth was a feisty and sensuous creation. As James I David Creedon captured well the lascivious side of the King. The audience were fully appreciative of Ross Muir’s highly camp Earl of Southampton - perhaps a little too outré for Elizabethan times.

The use of projected slides was a clever device that helped to identify the time and location of each scene. This together with  the simple but effective set made the many scene changes possible. However, there appeared to be a few problems with the  lighting cues that hopefully were resolved for later performances. Enjoyable as the play was, it was far too long and could  have benefited from some pruning and tightening up. For example the scene in the second act involving Shakespeare bragging in a Stratford pub did nothing to enhance the plot and could so easily have been left out.

Congratulations to all involved in the creation and realisation of this original work.

Words and Music 

Gordon Bull

Costumes superb, lighting flawless, word-perfect acting without exception, brilliant interplay, all contributed to this spell-binding and kaleidoscopic bio-pic on the convoluted lives of Good Queen Bess and Francis Bacon.  One hour of pure enjoyment with another act to follow!  Here endeth the first lesson and my Magnificat.  The sheer effort of having to cope with the complications of twenty-eight characters, the multiple scene-changes and the Shakespeare-like soliloquies accorded to Bacon and Ben Jonson which contributed to the ensuing hour and half’s intricacies, was exhausting and left me gasping as to at what point  this whole affair was to be concluded.

The play was undoubtedly engaging, written as it was by an authoritative playwright whose thesis was clearly linked with the content. I certainly learned a lot, even if a substantial part was based on contemporary writings and hearsay.  Bob Ryder asSir Francis and Judith Berrill as Queen Elizabeth gave strong performances and led a quality cast too numerous to mention.

There was material enough here for two plays. One on the dispute as to the Shakespeare v Bacon controversy and another on the Elizabeth / Essex / Leicester shenanigans. To convolute the two was too much. I could not revisit this a second time

and was very relieved to get to the final curtain, albeit I am glad I experienced it the once. An abundance of words and incidental scenes as such would serve to pad out if two historical plays were written on the subjects. Further, the inclusion of modern expletives mixed in with 16th century colloquy destroyed too sharply the atmosphere created, and the absence of (or unsatisfactory attempt at) any ageing process both to the Queen and then to Bacon over their life-span was unforgivable. A whitening of face here and a greying beard there would not have gone amiss and redeemed one’s belief. It was further quite superfluous, although interesting, to include the love-scene between Francis and the Queen of France, like an apple in a pond. Scenically did we need the ball-playing James I, described as the wisest fool in Christendom,  to forge a link with the Queen’s supposed bastard’s disinterest in his throne?

The production team was excellent in every way and together with the whole cast and author/director Nick Young, has to be congratulated in bringing off a demanding play-wright’s dream. Maybe we have a budding Bacon or putative Bard in the wings, for Ciphers bore some recognisable traits of the master’s pen, style and long-learning. I suspect my review matches the one problem with this otherwise excellent play. Too many words!

Jamie Hailstone

Also in the Herald,
 Adur District Council Chairman Liza McKinney wrote

Home

by David Storey

June 16 - 19 2004

Directed by

John Garland

The days of large scale institutions have now passed, but we should remember that the original purpose was to provide a place of safety for those too vulnerable to live in the outside world.  Although I staunchly advocate the benefits of community care, I feel we should never forget the generation of people for whom the asylum really did become a "Home".

Barrie Jerram 

Set in a sunlit garden two elderly men meet up, exchange pleasantries and reminisce about their pasts. But all is not what it seems.  The men seem to be living in a Pinteresque world of non sequiturs and unfinished sentences where one wonders if
their anecdotes real or are they fantasies?  Jack is full of tales involving a large number of relatives, whilst Harry seems to have a pathetic need to either match or outdo some of Jack’s claims. They have a courteous and old-fashioned air about them and their peaceful world is soon disrupted by the arrival of two raucous women whose conversation is laden with sexual  innuendoes.  The mystery of the world inhabited by these four people is soon revealed.  They are in fact residents of a large-scale mental institution and we are given an insight into their lives. Although the play is full of humour, there are many moments of sadness when the poignancy of their situation breaks through.  Although they all talk of going home, the asylum has in fact become their home.

This difficult play was well handled by a strong cast with an extraordinary performance from David Goodger as Jack.  His subtle body movements and facial expressions fully conveyed the confused and vulnerable personality of the character.  His head forever darting forward and peering as though doing a double-take, whilst his face often collapsed into a wistful bafflement as words failed to come out mid-sentence.  Of the two men his was the better-written part with plenty of opportunities to shine.  As Harry, Derek Fraser, had the more difficult task.  He was required to be more introspective with dialogue that often was fragmented or just one word.  Likewise with the two female characters, Rosemary Mose had the meatier role as the sex-obsessed Kathleen and fully extracted the comedy as well as the pathos from the part.  Joan Bearman conveyed well the dual nature of Marjorie - prudishly reproaching her friend’s sexual behaviour one moment and encouraging her the next.

The play was skillfully directed by John Garland, who brought out the best from his cast.  In addition he played the small role of Alfred, another of the inmates.

Words and Music

Gordon Bull

This play presented a very different challenge to one’s senses.  Five residents are confined to a home to see their days out.  Whether due to ‘anno domini’ or for medical reasons we don’t need to know.  It is the actors who have to meet the real challenge in a two-act play based entirely on virtually unrelated platitudinous dialogue and aimless movement during which the small cast have to engage the audience successfully against all the odds.  This they were able to do with one caveat.   The second act was rather too similar to the first to be worth the effort.  The sheer concentration required to fill in the gaps between the attenuated clichéd exchanges became very trying a second time round although it brought home to one the continuous stream of trite trivia we all spill out in our daily lives.  [‘Well … right … you know.  I hear you … know what I mean … you know… innit … they’re all the same … you should ’ear ’em … you could write a play.  So there!]  David Goodger as Jack and Derek Fraser as Harry carried us effectively, if a little stilted to start with.  Sidekick Rosemary Mose (Kathleen) with unconcealed underwear added a necessary lighter touch and kept us amused as did Joan Bearman (Marjorie) who tried to keep her respectable, while the men didn’t quite know where to look! 

John Garland had the tricky task of directing while being a complementary fifth member of the cast.

Jamie Hailstone

Arriving in my usual state of ignorance, I knew nothing of the plot and was confronted with two seemingly affluent gentlemen in slacks and blazers on a garden terrace. They appear casual or new acquaintances and are swapping inconsequential anecdotes.  The setting could be a bowls club or a hotel in Worthing but something seems not quite right.  Slowly the penny dropped in what I fear is the world’s dimmest jukebox.  The men are in an asylum. This is a sombre piece dealing with the debilitating effects of mental illness and the indignities suffered by many in the large-scale institutions of the 1960’s.  

The scope is one day in the lives of five residents, during which their shattered expectations are laid bare within the rubric of their existence, which is the meal schedule.  The actors speak almost entirely in platitudes and the script gives them little but hazy, circuitous reminiscences or non sequiturs.  All five performers were outstanding but, as Jack, David Goodger excelled.  Goodger’s inept, infantile version of the three-card trick underlined wonderfully that the character had largely regressed into childhood.  As Harry, Derek Fraser was all subtlety and nuance when dredging up a little gallantry to lavish on would-be suicide Kathleen (Rosemary Mose), whose loud, open-legged vulgarity underlined the extreme fragility of her two male companions. 

However sombre the theme, there were moments of high comedy, such as Kathleen’s suggestion that married couples should meet only once a fortnight: “It’s ridiculous living together - not human!”  John Garland’s direction was crisp and uncluttered, while he was suitably manic in the minor role of the lobotomised Alfred.  Garland chose to place the action on the floor and in he round, so heightening the intensity and immediacy.  The effect was engrossing and often disturbing as the audience was only feet away from actors who were weeping copiously and exploiting alarming physical tics.  Home is an unforgiving, dense piece of writing which can easily become turgid if not handled deftly.  But given Wick’s strength in depth and the resources of its principal actors, the group is justifiably fearless in what it takes on.  This piece was exquisite.

The Exam

by Andy Hamilton

Aug  5 - 7 2004

Directed by

Mark Best

The Exam is a very entertaining and thought provoking show for young and old alike.  Adults will remember the knotted stomach as the minutes ticked by and the scratching of pens would be the only sound to be heard.  Whilst youngsters in the audience may well find some remarkable resemblances to the teachers and the words of wisdom spoken to them by parents!  This show is beautifully scripted and has a very warm and entertaining view on what we will all remember as being one of the most nerve-racking times of our lives.  So - sit back and enjoy a trip down memory lane!

Cast

Barrie Jerram 

As the streetwise Chas, Helen Brewster had the additional task of acting against gender and gave an assured performance with good timing that extracted the maximum humour from her wisecrack lines.  There were some delightful scenes between Chas and the ghost of his Father, played with great drollness by Stuart Isaac.

Matching Helen in confidence was Sara Hadfield as Bea with the nickname of “Two Brains”, the girl who excelled at everything but at a cost. Her talent and singleness of purpose had led to isolation through the lack of friends and to constant praise from her parents who were forever showing her off. An interesting aspect of her story was the way that she coped with taking exams. She had invented a character that she called “Exam” whom she controlled by transferring over her worries and fears. At one point “Exam”, nicely played by Kira Branlund, rebelled and a struggle of wills takes place.

Completing the trio of candidates was Andrew, trying desperately to live up to his parents demanding expectations and living on his nerves as a consequence. Chris Morgan had the difficult task of expressing his mental and physical torment through variations of face and body language.  As the bickering teachers Amy Curtis was delightfully gauche as “BSE” with Ryan Lainchbury as the volatile Biggs.  

The choice of play was an ideal one for the youth section of the Wick Theatre Company who provided an evening of great fun.

Jamie Hailstone

Full marks to the Wick Theatre Company’s youth group for their impressive debut last week in Andy Hamilton’s The Exam.

 The cast also included Stacey Crosskey, Amy Abbott, Zoe Attree, Katie Foulsham, Emma Sotheran, Amy Curtis, Ryan Lainchbury. Stuart Isaac and Kirsty Biss.  As the exam started to unfold, the audience was drawn into the lives of all three pupils with flashbacks to their home life and even the odd ghost.  

There was many a knowing nod from the audience as the play unfolded.  They may have been the best days of our lives but they are pretty difficult to forget too.

Blue Remembered 
Hills

by Denis Potter 

September 10 - 18  2004

Directed by

Bob Ryder

As You 
Like It

by William Shakespeare 

September 10 - 18  2004

Directed by

Pat Lyne

The Court of the Usurping Duke

The Court in Exile

The Folk of the Forest 

Musicians

Jeremy Malies

The Wick Theatre Company presented As You Like It last week at the Barn, Southwick.  The piece is the best Shakespeare production I have seen all year, being witty, packed with inventive performances and original in direction.

As Rosalind, Leila Leam was almost cinematic in her attention to facial expression and small detail.  It was an inspired response to the challenge of playing an intimate venue in the round, often only a yard from the audience.  As a surprisingly up-beat Jacques, David Creedon distinguished himself with a resonant and wonderfully paced ‘seven ages of man’ that was so magical and fresh I almost broke the spell by applauding.  The decision to portray Oliver’s wrestler, Charles, as a female martial arts expert was a clever piece of mischief and Jenny Burtenshaw was a delight.  As Orlando, Greg Robinson was clean-cut and stood on his dignity marvelously in the mock wooing scenes.  Director Bob Ryder should be congratulated on overwhelming theatrical intelligence and winning visual gags - such as injured wrestlers being ferried around on stretcher and drip, love notes as paper darts and a shepherdess with a lamb sticking out of her rucksack.  The uncluttered, effective set consisted of little more than a wood-chip floor.  Mike Medway’s lighting was excellent, particularly when suggesting dappled morning sunshine.   The sound effects were a sustained joy.

Shakespeare’s pastoral comedy was part of a double bill.  In ‘rep’ with As You Like It the company presented Dennis Potter’s Blue Remembered Hills.  First broadcast by the BBC in 1979, Blue Remembered Hills is set in the Forest of Dean on a summer’s day in 1943.  Seven children act out squabbles and petty jealousies against the backdrop of rationing, an escaped POW and a father held captive by the Japanese.  Potter’s ingenious and provocative twist is that the children are played by adults and the piece has an anti-nostalgia message similar to Lord of the Flies. 

Several cast members appear in both pieces.  After a glide-on role as the fairy Hymen in the Forest of Arden, Mark Best was a mainspring of events in Potter’s Gloucestershire.  His intense, resourceful presence captures every cadence of the juvenile slanging matches.  Nick Richmond was similarly impressive in sustaining a speech impediment through 90 minutes of dense, taut dialogue.  Bob Ryder’s treatment of adolescent self-loathing and pyromania was closely observed. 

Barrie Jerram

To start its new season Wick Theatre Company set themselves the ambitious and brave challenge of performing two plays on alternate nights - the first of these being Shakespeare’s sylvan comedy, As You Like It. 

The Forest of Arden was skillfully evoked with the play being performed in the round on a woodland floor of bark chippings surrounded by tree branches. The effect was completed with birdsong and dappled sunlight, together with original music from local composers.  There was much to enjoy in the production with the acting and the verse speaking being of a good standard. 

To alternate with As You Like It, the Wick Theatre Company chose Blue Remembered Hills, a play originally written for television by Dennis Potter.  It recalled a summer’s day spent by a gang of children playing in the Forest of Dean during the Second World War.  As we watched the seven children play we became aware of the group dynamics with the struggle for leadership, the changing alliances and the tormenting of the weaker members. Their actions mirrored the world around them with fighting and acts of mindless violence and cruelty.  Their persecution and taunting of the weak Donald ends in tragedy.  Their remorse for this was short-lived as they found excuses for their actions and seek to escape blame.

Despite this serious undercurrent the play was full of humour, not the least of it coming about through adult actors playing the young children.  The excellence of the writing was well matched by Pat Lyne’s sensitive direction and the high standard of acting.  The realism of the forest settings and their varying moods were brought about through extremely clever use of the lighting.  Full credit goes to Mike Medway and the rest of the technical team.

The play was a delight to watch as the adult actors turned themselves into children.  Each of them managed to capture not only the spirit of youngsters but also to portray all of their childish body language. Particularly impressive was Mark Best as Willie, all gangling and gawky, and Kate Brownings, the ghoulish tomboy, Audrey, always ready to bash someone up.  Judith Berrill gave a delightful portrayal of Angela, who one sensed would grow up to become a little madam.  There were solid performances from David Peaty and John Garland as the rivals for top place in the gang. Nick Richmond had the difficult role of the stuttering Raymond.

A most sensitive performance came from Bob Ryder, whose portrayal of the tormented Donald is truly heartbreaking - a pathetic creature, having to endure not only the loss of his father missing in the Far East and the physical abuse from his mother, but also the cruelty from the other children.  It was almost too painful to watch the scene where, in deep despair, he rocks backwards and forwards, banging his head against the wall and calling for his father to come back.

Wick's 200th production

The Winslow Boy

by Terence Rattigan

December 8 - 11  2004

Directed by

Joan Bearman

Ronnie is accused of stealing  a postal order while at naval college and is expelled.  His father is determined to prove Ronnie's innocence and tries to engage barrister Sir Robert Morton to fight the Admiralty.  The play shows  the effects on the family and friends and brilliantly highlights the society, politics and attitudes of the time."  

Cast

Barrie Jerram 

Despite the craftsmanship of Rattigan's writing in depicting the society, politics and attitudes of the time, the play does at times creak a little and begins to show its age, particularly in the first Act.  It took a long while before any dramatic tension was built up but when it did the cross-examination scene between Sir Robert Morton QC and the boy fairly crackled with electricity.  It would be fair comment to say that following the arrival of Morton the play lifts off.  However, the issues raised by the play are not dated.  A father's fight for justice is still pertinent today as is the right to fight that the radical daughter espouses.

There were exceptionally fine performances from the three principal characters.  Derek Fraser captured well the dual aspects of the father's character - gentle dignity and steely determination - and was most convincing in depicting the man's failing health.  As Catherine, his daughter, Claire Wiggins had a difficult task of portraying a feisty radical without turning her into a caricature. This she did well and at the same time blended her political passion with a gentleness especially when speaking of her love for her fiancé.  She was particularly impressive in her exchanges with Morton.  She was well matched by a forceful performance from Peter Thompson as the barrister.

It was encouraging to see Chris Morgan step up from the Youth Section.  However there is a point that he will have to watch and that his his posture.  He has a tendency to slouch that in this production did not fit the character of a Naval Cadet.  Also by dropping his head his words at times disappeared into his chest instead pf projecting out to the audience.  This was particularly noticeable in the opening scene with the maid, Joan Braddock, who also had a problem projecting.  She later made up for this in a scene after the trial when she fully realised her comic potential.

In the main there was strong support from the rest of the cast, with Ray Hopper giving a delightfully understated performance that gave his character just the right amount of pathos.