SOCIETY: Moulton Drama Group www.mdg.org.uk
PLAY TITLE: Game Plan
PLAYWRIGHT: Alan Ayckbourn
PERFORMANCE DATE: 10 - 14 June 2008

1. Choice of Play
'GamePlan' is one of Alan Ayckbourn's later plays and as such it anticipated, and received robust reviews when it first appeared. Moreover, its is part of a thematic trilogy. I share this production's judgment that its status as part of a larger piece need not prejudice its suitability for independent production. The audience looses nothing by having the first two plays of the trilogy withheld.

The dramatic potential lies initially in the facade of bourgeois normality being undone by Sorrel's actions. The play's double-whammy is Lynette's willingness to protect Sorrel against chastisement despite those actions. It is these dramatic levers which a production needs to use to it best advantage for ultimate impact. Lastly, one would expect to be mindful of the 'damsel-effect', given that the original context of the play was within the 'Damsels In Distress Trilogy'. In this play, it is both Lynette and Sorrel who are in `distress' and their relationship, and fortunes, change for the better by the end of the story.

In the hands of Moulton Drama Group, who are quite experienced, there should be no significant difficulties in executing this familiar format Ayckbourn play. A bourgeois normality background, a practical deux ex machina (in this case the balcony) and a sprinkle of controversy (Sorrel's age) are, as ever, present .

2. Publicity / Atmosphere
The publicity used for this production was relatively limited, with the programme featuring a balcony that said little about the location of the action. In the theatre, there were photos of the cast etc. which were smart and of interest. The bar and other facilities were well managed. The performance was quite well attended and the audience was appreciative of the choice of play. This village hall setting was comfortable to be in and the local following was supportive.

3. Technical Adjudication

a) Set
The modern flat was created earnestly. The use of the hall's stage flooring was fine in this design. There was a balcony upstage centre and a leaf table to the left. I liked the split of light furniture to the left and dark furniture on the right. The dominant couch downstage right could have been more problematic than it was. There was effective use of this space made, overall.

The magnolia walls gave a sense of urbanity, and I liked the modern floral patterns on the wallpaper on the facing flats, repeated on the dumb waiter.
I felt the flat might have looked more indigent, overall, to show the girls' plight. Moreover, the production moved the play from London to the North (accents) and from 2001 to the present (e.g. iPod docking station). I'm not sure these were fully considered - would Kelly be ignorant of Internet now?
Lastly, the electric Christmas tree, stage right, was well chosen. It’s exactly what flat-dwellers tend to have.