CHESHIRE THEATRE GUILD
MOULTON DRAMA GROUP 9 March 2007

www.mdg.org.uk

" MR WONDERFUL" by James Robson

CHOICE OF PLAY

A middle-aged woman, working part-time in a factory and caring for a bedridden mother, is trying to find her Mr Wonderful through a dating agency. We see her first with a mind-numbing bore with an encyclopaedic knowledge of screws, then she meets grammar school educated and affirmed teacher of English and PT, and finally meets a fanatical cycling freak. However, she is attracted to the teacher and invites him home to meet her mother, who is terrified that her daughter will leave her should she find her Mr Wonderful. The couple subsequently leave for a weekend in Southport, where she receives a call from the neighbour caring for her mother and returns home to discover her mother has died. An unexpected climax sees her 'Mr Wonderful', handcuffed to the settee, awaiting the simultaneous arrival of the numerous women in his life, lured by Norma using his mobile from which her mother had discovered his secret and had tried to warn her daughter. Ample opportunities, therefore, to create these well-defined characterisations, an imaginative set, and innovative direction.

TECHNICAL

SET
No tabs, yet under muted lighting there was ample opportunity to absorb what was to prove an imaginative set, solidly built on four. distinct levels, representing mother's bedroom, lounge and hallway leading to front door, lounge bar of public house, and a patio of a seaside hotel. Each area was appropriately furnished, yet there remained ample playing area, which was used to it's full potential. Noticeable was the provision of well-defined entrances and exits upon the stage, through a door DSR in the auditorium, and an occasional entrance from the rear of the auditorium.

PROPS
Previously alluded to the appropriate furnishings 'in each location, but also noticeable was the clutter in the bedroom and in particular when required the provision of sweets, magazines, Zimmer frame, knitting and the presence of a large teddy bear which was evident throughout; a settee, mirror, and plant in the lounge; coat stand and folding wheelchair in the hallway (waiting for collection by the Social Services now no longer required?!); various drinks in the pub scenes; cafetiere and newspaper for hotel patio scene. Noticeable also was the provision of boxes of liquorice allsorts, bottle of Tia Maria, yellow duster, bunch of flowers, suitcase, handcuffs, box of dog biscuits, and the wall telephone in the hotel. However, a nitpick; would not mother's bed have been stripped to the mattress cover following her demise, as it was, it appeared to be still in use!

LIGHTING
Each area was appropriately lit with an exceptional good use of spots, especially noticeable was the contrast in the interior lighting and the brighter exterior lighting on the patio. Noticeable throughout was the well-taken cues from dialogue and sound.

SOUND
Good choice of music, appropriate for each scene and played at an appropriate level during the numerous scene changes, yet each number (accompanied by the audience towards the end of the play!) was evidently too lengthy as the players were standing on the darkened stage for quite some time before music ceased, although on one occasion when there was a blip in the provision of music lights came up on an empty stage! However, noticeable was the sound of background music in the pub, but was wisely dispensed with in subsequent pub scenes and the sound of sea gulls during the seaside hotel scene. Noticeable also was the provision of sound from the voice mailbox, door bell, hotel wall telephone, and the noise of the approaching women, although the latter would have been more convincing had there been a gradual build-up of noise and a less rapid cessation.

WARDROBE
Well chosen with an eye for detail with regard to each characterisation - particularly noticeable Norma's invariable skirt and jumper, yet wearing a more dressy outfit for her weekend away; Phoebe's nightdress/hairnet and the fancy headband and necklace for Geoff's visit; Eric's casual wear; Geoff's suit and casual wear whilst away for the weekend; Lop Wink's cycling outfit, and the waitress' obligatory black and white 'uniform'. Hairstyles, headgear, accessories, and footwear were also provided with an eye for each characterisation.

PERFORMANCES

ERIC BOX (Steve Allen-Gurr)
An exceptionally well conceived and conveyed characterisation. of a man totally absorbed in his. DIY business, who evidently uses. any opportunity to boringly expound his encyclopaedic knowledge of his wares, particularly choosing for the occasion, his numerous screws! Dialogue was faultlessly audible accompanied by a gamut of natural facial expressions, hand gestures, body language and mobility.

NORMA GREEN (Denise Barry)
The epitome of the middle-aged woman thinking life and marriage had passed her by and hoping to find her Mr. Wonderful through the columns of a newspaper and/or dating agency. Noticeable throughout was her well-timed entrances and exits, adept handling of props, and a gamut of natural facial expressions, body language and mobility. The dialogue, however, though exceptionally naturally delivered would have been enhanced by more vocal projection, particularly when in the bedroom and by pausing to accommodate audience reaction particularly to the comedy lines. Noticeable also was her adept handling of the handcuffs, which greatly assisted the evidently unexpected climax to the play.

PHOEBE GREEN (Gill Birtwisle)
An extremely well conceived and conveyed characterisation of an affirmed manipulative bedridden 'Mum', living her life through her daughter now she is confined to her bedroom. Dialogue, accompanied by a gamut of facial expressions, hand gestures, body language, and appropriate immobility, would have been enhanced by more vocal projection, especially when peering downwards into a liquorice allsorts box, reading, knitting and pressing buttons on mobile 'phone; when calling to Norma in a downstairs room; and by pausing to accommodate audience reaction to the comedy. Some noticeable moments was when hugging and addressing her Mr. Wonderful; imitating QM's voice - loved the "Avon calling" following the doorbell ringing; and her natural delivery of the expletive 'mucky bitch'.

GEOFF LAZENBY (Peter Burkey)
The epitome of every woman's Mr Wonderful - ruggedly handsome, articulate, charming, smartly dressed, and even a name with a 007 ring to it - little wonder Norma eventually chose him from amongst her other dates! Dialogue was faultlessly audible throughout, with a gamut of natural facial expressions, hand gestures, body language, mobility, and an adept handling of props. Noticeable moments, holding and gently kissing the back of Norma's hand; entering with flowers and sweets; meeting Norma's mother; entering through auditorium onto hotel patio having been for a stroll; and particularly noticeable his reactions to, and believable struggling to release himself from, the handcuffs.

LOP WINK (Richard Kirkham)
An excellent attacking entrance through the auditorium pausing on arrival sufficiently to allow Norma (and the audience!) to take in this affirmed 'unusual gent' and evident cycling fanatic. Dialogue was faultlessly delivered throughout, initially in an indisputable foreign accent until admitting he was not really from Amsterdam. Noticeable was his exceptional good use of emphasis and pause - one of my favourites was 'since the court case', delivered as an aside, yet picked up by the audience - a gem!

WAITRESS (Alison Clarke)
A well-timed entrance, carrying a tray and descending steps, which was adeptly handled, as was a subsequent appearance to answer the hotel wall telephone. However, her dialogue would have benefited from more vocal projection, although her dress and mobility were most appropriate for a hotel waitress.

PRESENTATION

DIRECTOR (Sheila Hetherington)
A challenging play with four distinct playing areas, a public house, bedroom and living room of a house, and a seaside hotel - loved the cluttered bedroom, the simplicity of the dressing in the public house, lounge and hallway, and the innovative setting for the seaside hotel. Compliments upon using each playing area to its full potential and the occasional use of the auditorium, to suggest the outdoors. Despite a couple of nitpicks, it was evident a lot of thought and hard work had gone into the creation of this imaginative set and the well-defined characterisations, and compliments are also due for the apparently well rehearsed entrances and exits, variation in pace, choice of music, and wardrobe. However, the occasional paucity of vocal projection and the length of scene changes must be taken on board by the director, yet may have been and if ignored is worth mentioning again!

SUMMARY

Despite an odd criticism, it was evident from the spontaneous laughter throughout and the prolonged applause at curtain call, this production had provided the audience with an enjoyable evening of 'live' entertainment.

Joan Cooper
9th March 2007