MOULTON DRAMA GROUP CTG FESTIVAL
May 19th, 2009
PLAY ON By RICK ABBOT
Directed by DEREK MORRIS
Assistant director: JOAN CHRISTIE
GENERAL:
Having been on the receiving end of adjudications based on whether the writer liked the play or not regardless of the efforts of the company, I am not going to let the weaknesses of this well meaning but derivative play affect my judgments. After all I could be heard laughing uproariously at some of the antics! This was more in appreciation of the comedy skills of the performers, perhaps, but it was to their credit that they made it work so well. Another play about an amateur group putting on a play (and written by an American) Farndale Housing Estate type stereotypes and scenes which extend the joke over and over, ever repeating a scene, albeit in a drunken manner - all this makes Derek and the team's task that much greater. But as Jack Sharkey in the seventies the writer is no stranger to parody of murder mystery - "The Murder Room " for example, which plays well.
In case the difficulties of a set being "built" as the play progresses, a full set of effects and bouts of organised chaos are too much for the fainthearted, the author has written a set of "recommendations" to help. In the notes in the acting edition, it does say of this play, "If you haven't ever done Play On (Is there a group that hasn't?!) and so it must have something. I suspect what is attractive to most and probably Derek and Moulton DG, is the opportunity it gives cast and team to let themselves and their skills loose on it in the cause of laughter! No wonder Derek had an assistant director, Joan! It is challenging, for though it may be lightweight in areas like dialogue or character development, it is a peculiar mixture of cliché mystery and farce. One is about "failing" to produce tension and suspense, the other about pace, timing and vitality, not an easy combination in one production. It needs slick and careful playing as well as requiring recognizable characters, humorous as the events themselves and the dialogue might be. It has a series, too, of set routines to make successful.
And as mentioned it has challenges for the set construction and the stage management team to make effective the various stages of development, the disasters and the impossible safe on stage left. The actors must be quick in pace but also clear so that the background details of which there are a lot are not lost. They also need to balance farcical techniques with some degree of realism so that we actually understand something of the plot!
PRESENTATION:
Stage Manager: JOAN CHRISTIE
Set designer SHEILA HETHERINGTON
Set Construction and Painting: STEVE ALLAN- GURR, TONY BANTOCK, BRIAN BRINDLEY, PETER BURKEY, JOAN & NORMAN CHRISTIE, ROB & SUE HUBAND, JANET & TONY MORRIS, LYNN SLINGER Properties: SUE GREEN, SUE HUBAND, EMMA JOHNSON, CHAD MEADOWS, SAMANTHA MOSS
These are the skilled crew who had to make it all work. And the building of the set itself was in the hands of the stage management, whilst there was a "Stage crew" appearing in the play itself. Both deserve credit for all that happened, especially as the cueing of the "pretend" crew had to be worked and cued by the real one! Good work, Joan.
The main task was, for the group, to build a pleasing set with workable effects like the opening and closing safe, the exposed back wall before the flats were in place, the array of unfinished set dressing and all the "unconvincing" hand props, such as the oversize reference book in Act Two. And then to make sure everything was in place to make them work.
Certainly, the first task involved some clever but simple pieces, making use of the wide stage to replicate the layout of the original set design - no mean feat! The shelves were there, the easy exit right to the rest of the house, the large French windows with voluminous net curtains. The use of yellow walls, with a stylish arch to add depth, and brown doors lightened the set as it emerged in front of the black and cluttered wall of the real hall, and the space created was well filled, firstly with a line of folding chairs and then with a carpet and large sofa and chair. Perhaps the sofa got in the way when someone stood upstage of it but that is part of the fun.
In addition to these demands, the play within the play set it in that great period of English thrillers. That demanded period details also, like the look of the door and windows, pattern of the carpet, style of furniture. These were nicely convincing! And that same task was there, again, for the Props department. Men with dinner jackets carried a precious diamond (or whatever name they finally settled on!) and the set was full of aspidistras, candlestick telephone, lamp, families of ornamental elephants, sideboard, drinks, pistol etc. Before this there had been reversed, crookedly -hung pictures, a step ladder, coffee mugs, files - the list is endless.
Good thorough work by everyone in the credits above!
LIGHTING GRAHAM SCOTT
For this there was a lot of precise cueing needed to co-ordinate effects on the curtains etc, for the rehearsals with Gerry out front and for the "play" with its introduction. It is never easy to rig a set up like this, especially with the set altering as the play goes along, and a view through the net curtains.
In the "play" first night there were good impressions of the group's work, with red, green and lilac lights on the walls. But the cues were spot on and the effects helped the production to be convincing. Good work, Graham!
SOUND STEVE BIRTWISLE
These were important in the thriller effects, like the ominous music, the phone and all its accidental rings or failure to ring, and other recorded sounds, live sounds offstage etc and the jolly introductory music to the real play. And, of course, every sound person's dream - thunder loud enough to drown out the actors! Well researched, realistic and well cued.
Nice work, Steve!
COSTUME, WIGS and MAKE-UP SHEILA HETHERINGTON, DENISE HETHERINGTON
If the conventional thriller is a difficult setting for props it is certainly true of costumes! Not only was there some authenticity to care about but also some clever class distinctions and a reflection of well known stereotypes! What I liked most about this aspect was that the character was given the most attention, so were still appropriate to the type of player we had met in earlier scenes! So Lady Margaret had a glamorous costume which was so very much part of her character. The Maid's uniform was authentic looking but reflected the carelessness of the student playing the role. Smart dinner suits and a smart dress and wig for Diana completed the picture onstage whilst Phyllis summoned up her stylish dress for the occasion and if Gerry did not quite go the whole way with her "change" she certainly looked the first night director.
Before that the stage crew, the director, writer and players all wore casual clothes to suit their real life characters, even Louise and the indomitable Aggie
Hairstyles of the women caught the flavour of the setting in the play - especially Lady Margaret -whilst remaining glamorous, or in the case of the crew, suitably workaday. The required exaggerated make- up was just that and reminded me of the day when so many amateur players made up like that, as if electric lighting had not advanced in its brightness since the gas lights of the early theatre! But Sheila and Denise's work was a splendid effort, much appreciated by the audience and an essential and successful part of the production.
Well done both!
HOUSE MANAGER DEREK MORRIS
BAR MANAGER ERIC GREEN
BOX OFFICE CHRISTINE KIRKHAM
How did this man with this huge production task find time to be house manager as well? That's talent! All of these performed well, with a warm welcome, attendants with programmes etc. I did not use the bar but everyone seemed to enjoy it and it was all handled efficiently, except yet again a glass was kicked over (full this time) as someone stood to let people return to their seats.
Good work by all.
PROGRAMME SHEILA HETHERINGTON
PUBLICITY SARAH FLANNERY, DEREK MORRIS
Someone judges the posters so no comment on publicity except it seemed to have worked for there was a good sized audience. The programme had a typo but was a clever design, incorporating a drawing of the "whatsit" diamond and having a "programme" inside for the "play" the actors were supposed to be performing by the Garden/Gardnen Players. It was simple straightforward and effective.
Nice work all!
PRODUCTION
This was a production full of the challenges outlined earlier and like all plays in the thriller genre, whether a parody or for real, it places a huge responsibility on the director to ensure pace, action and slick dialogue. He also had to create a series of climaxes, or more correctly here, calamities, marked clearly for the audience. The other task is to be faithful to the setting and of course to the amateurism of the rehearsals, with appropriate characters, gestures and actions, as well as ensuring that all technical aspects support this. In all these areas, there was a good degree of success and despite some slowness and some lack of confidence in places, the cast as a whole did a good job in helping Derek achieve fun and anticipation in the unfolding of the plot and a good degree of farcical comedy to add spice to it all. The technical skill in set building and ingenuity of effects helped the production considerably.
So in ACT ONE
The strong beat Shadows style music created the right mood. Aggie was in fine voice, Gerry came down from the back of the hall and the curtains did what was asked of them! Everyone was called on stage and unfolded chairs or stood around. The cast showed their characters with opening lines and Louise was suitably truculent, "I'm somebody". Billy made the bigger climax building up to his forgetting of his line, "Oh is that me? "
Gerry was rather slow at first but soon picked up pace as the rehearsal progressed. Positions were natural but Smitty was for a while masked upstage of Henry and Polly. Visual miscues and vocal mannerisms established the tone of the rehearsals, with appropriate shouts from offstage by Aggie and Louise. Violet made the most of her, "All of what Billy? " provoking reaction from Billy and Gerry. Good hammering and crashing sounds from offstage. Some concerted speeches led to Gerry going onstage for "Plagiarism". Aggie and Smitty delivered the banter clearly about "treacherous loads and lecherous toads ", although Smitty was again masked upstage of Henry. Good round tone and outraged expression from Violet,
"I didn't say my line ".
Gerry sat on the chair in the line. She and Aggie got the facts across during the cast's coffee break, but the cues and pace were rather slow. Henry and Saul took up their usual positions for the play. "Illustrated Biology" book marked Smitty out as the student. She popped smartly but at the wrong cue (purposely of course) from the door on stage right. Billy had a good change of register for "Delhi Diamond" and the discussion was well played, with a good delivery of "rotten requiem ".
Aggie piped up, with strong delivery,
"How do you spell Ranchipur?"
Polly's annoyance at the phone ringing too soon was expressed well in voice and action, and Saul's sharp line worked well,
"They only go up to size 44 ".
Billy and violet were most convincing in their kiss. Stylish Phyllis entered from the back of the hall and the cast were well grouped on the stage. Phyllis was very animated - good delivery of lines like,
"Murder? I never thought of it as murder",
and leading to tears of distress about "the loveliest new lines ".
Billy had a very natural tone as he teased out the origins of the pregnancy and gave a strong delivery of
"Amnesia ".
There was more of the same and a few other tricks, too, like the concerted "ooh "s which greeted "speak for the entire committee ". When Henry went to the phone it was a relief from his normal cross facing position as we could now see his full face, "Hello. Yes. I see".
The effects of the car horn and then shot were well cued and amusing, with a final "Damn it all to hell!" from Louise.
Then in ACT TWO
The scene opened with the bright music again and the joke about the curtains being closed as Gerry came down again to the front. Sharp lines from Aggie and satisfaction that the rear wall, drinks and telephone were properly in place. There was now a green sofa in that centre stage position. Aggie helped Gerry out with a cue and Louise brought in a somewhat disappointing piece of "good, expensive costume jewelry. " The safe with no back and the ensuing business was well introduced. The cast in a change of costume entered and Polly with red wig, overdone and a dress to make her look bigger, took the audience attention especially as she gave a twirl on
"I'm not wearing a bustle".
Similarly Violet's antics with the blonde wig was amusing for ` I look like an English sheep dog".
Aggie stepped forward briskly when Phyllis was asked to listen to the lines, with a stentorian
"Back the-are " amid high pitched silliness from Phyllis,
"I'm re-eh-dy "
The run through had all the clichés - Smitty dusting with a pink feather duster, rattling off a list of the guests, a big book for reference for Violet. Henry made a superb double handed gesture for his
"Beastly attacks...... since this morning".
And with one of the best one-liners in the piece,
"A lovely belle like you deserves to have a ring".
Visual jokes were done smartly - the maid going to the right to let in Saul who appeared through the upstage entrance. Violet masked Henry for his exit which wasn't quite as smart. Jokes about forgetting where the ruby was, jokes about the setting were directed
successfully at the audience who responded well. Phyllis, Polly and Aggie and Louise did well with both the actions and the lines as the ruby went into the safe without a back. There were many bon mots and good comic actions - for example, Smitty running into the sofa, the reactions to Violet's beautifully delivered,
"His pants were moving all over my body ".
There was a splendid pose by Billy and good crisp work with his dialogue; firm delivery from Saul "It's libellous ", grasping for the jewel in the safe, threatening with the little pistol, all, and a lot more, done at speed but with good diction and timing. Billy did well in building tension in the account of the snake venom and Saul exaggerated nicely the "p" sounds,
"prevent penetration of that potent poison.
Aggie's "nee-now " sound signified the police, Saul died with "Oh " sounds and Henry had a suitably deep tone for "He's dead".
Phyllis closed the Act with her good line,
"Ah, but my dear it's all in a good cause ".
Then in ACT THREE
The curtains closed for a set change, the real audience were a little unsure with house lights on whether the play had finished! They had to see more of that scene again! The effect of the exaggerated stage make up was not quite as funny as the ladies had worn it, more or less, for the previous Act, but Billy's red lips and Saul's "moustache" were a treat. They took a line -up as if for the curtain and Aggie had to squeeze between two of them for her response to Smitty's convincing fear, with a strong "1 used to be a sergeant in the paratroopers "
The set was tidied up dramatically, picture straightened, right way round etc. Phyllis in first night gown sat in Gerry's old seat. So we had the scene again. Smitty dusted frantically, trying this time to "remember" her lines and made a lot of the word "millionaire ".
There were many examples of "mistakes" to add fun - the book upside down, splendidly helpful tone from Henry,
"It goes by many names, my dear ".
He and Violet did very well with the "anger," the "next owner" prompt, the missed replies and the "Balderdash " business. Smitty was quick but clear on her "Dr Dud is here, Lord Forbley."
and of course, there was the necklace in the safe routine, and the ruby down the front of the dress business! The author's suggestions were followed with the strobe and taped voices. Billy made a lot more of the "fly" business than in the text and took the audience along with him well, with the good delivery of the appropriate line from Violet. Later as she struggled with "accident" story, they all leaned forward as they waited, "The words can be treacherous at night."
Billy's drunken manner was superbly observed, just catching the note of one who hasn't quite gone into the total incoherence of drunkenness. He timed business and the repeated lines successfully. Saul was drunk, too, and Henry went into "cockey cock" as his refrain, but it was Violet's
"My hands were feeling all over his body" that was the most hilarious of the "mistakes".
And there were many more all well played. Even Smitty was brought in, "What was the question?"
Head in safe, arm coming out from safe - this joke was played to the full. The material from the pocket dangled clearly from the pistol. The telephone was off the hook and Aggie had to shout out before Smitty fixed it. It was all played fast and energetically, with no longer any pretensions at performing the "play" well - all were either nervous or drunk! The diamond got its three names, one after the other, and the pistol went off when it shouldn't. The curtain closed, then people lined up, Gerry took a bow and Phyllis started her piece on British theatre but was drowned out by the thunder effects. Louise calmly collected the bets. Then the curtains closed for real. The last scene justified in many ways the long setting up of the details in the earlier scene, although still a little déjà vue, as well as coming down firmly on the side of "farce" in the play. What a tireless effort by the cast and a great effort in doggedly energetic direction.
ACTING
AGGIE HOWARD (SHEENAH WISEMAN)
Normally there is something irritating in these sorts of plays when the Stage manager has to keep shouting from the wings, that kind of thing. But this was different - she was an ex paratrooper, for one thing and you don't get that very often! So there was a real character for Sheenah to get her teeth into and she did. The character with all its choice of different coloured gear was credible. Well spoken, clear and with plenty of expression she was given some good lines and some good comedy to deliver and spoke her lines at full volume as if she was in the "play", too. Her dialogue with Gerry was expressive and helped to give perspective on the play and other characters, "Naturally! No-one would pay money to do it ".
Her business and offstage shouts "Hang the phone up " - and similar - were so well done that she endeared herself to the audience. Good work throughout - she never flagged and helped keep the pace going. Well done, Sheenah!
GERRY DUNBAR (LYNDA BANTOCK)
This is of course a big role, with plenty of dialogue and movement, and a lot of it played from the auditorium with the audience near. It is a difficult role to play for she never really gets the chance to do a "character" in the way those playing in the "play" do. She has her comic moments occasionally,
"It does sound as if it belongs next to the liverwurst ",
But most of her speeches are instructions, comments about the writer and the task and are designed to move the plot and the play along. Lynda had impeccable diction and a credible earnest character but she did take it rather slowly and a little evenly at times, lessening the impact. But that was also in the writing and the success of Lynda's performance was that we never got tired of her and wanted her to succeed, as if she was in fact producing the "play" in the play! And that is real success! Well done!
HENRY BENISH/LORD DUDLEY (TONY MORRIS)
This was a formidable performance - credible in "rehearsal" and even more credible in the "play". Tony's comic timing and his droll, clear delivery, along with splendid character gestures and moves, made the most of all his comedy. He blustered, "Nonsense. Sheer poppycock. Superstitious drivel"
and could get it wrong to comic effect, when a little drunk. He defended his wife with strength,
"See here, you can't talk to my wife like that",
made comic exits the wrong way and made the most of his "attacks". He was superb in his inane dialogue, giving it a rich tone and a sense of reality, until "drunk" when it was heightened deliberately, especially as he added a note of panic, "Are you certain about the ---uh - mailman - or whatever you said?
He was unfortunately usually placed on stage right looking across and so only rarely did we see all of his face as he was delivering a good line. That too was expressive. Nice work from an excellent comedy player.
POLLY BENISH/LADY MARGARET (DENISE BARRY)
Another character who successfully captured the appearance and manners of the character described in the script but gave it a lot more charm. She was the typical ambitious player, building up her part with the connivance of the "playwright".
She had a good tone and good articulation so that she suited the role. She could harden the tone when angry,
"That does it. I'm through "
Even in exaggerated make-up, wig and over the top dress, her deportment and delivery were convincing, and she had a presence which helped her banter, "Stephen, I believe you owe Dr. Forbes an apology ".
This could be contrasted beautifully with an offstage line,
"I don't give a hoot in hell who says what! Can't we get on with this disaster?"
She used her eyes well to capture that society look and her voice was used easily and quickly to create the same effect. She could be incisive in delivery when dealing with crucial elements in the "play", whilst being also the butt of some comedy (the bustle) as well as making it, herself.
Well played, Denise.
MARLA SMITTY SMITH/DORIS (VICKY TARGETT)
The conventional thriller writer always included a member of the lower class as a maid or a housekeeper, usually for the sake of comedy, and so this Smitty was no exception. Whether walking into the sofa, being early on an entry or having trouble with the missing pieces of dialogue, she played it well. At the same time, there was credibility about her being a student, under the thumb of her mother and this gave her other comic opportunities,
"Mother thinks ahead! "
She could be a little quick in speech, but clear and with a suitable youthful tone, and a good rising inflection, "May I leave the room my lord? "
This made her a great asset to the farce as well as the thriller, adding to the confusion over the phone with a good impression of "Stage fright" and frantic dusting. Good comedy from Vicky!
SAUL WATSON/DR FORBES (PETER COLLINS)
Despite the glasses on a colourful cord, and arm held in front, his was a less flamboyant character in the rehearsals, but he used his height and stage presence to good effect. He was imprisoned somewhat on stage left and having to make rude comments about Polly and then apologise. He did both with a slighter toned delivery, but clear and expressive, "They only go up to a size 44 "
"I'd better go apologise "
In the "play, though largely in the same stage position, he had stronger tone and a good villainous manner, when the comedy of a forgotten necklace or the safe or pistol allowed him. He delivered with strength,
"Just raise your hands, and the rest of you do likewise ".
Then with a natural change or register,
"Aggie. The telephone supposed to ring there!"
He too had some good drunken lines and his antics with gun and his death were straight out of "Midsummer Night's Dream" (or "Midsommer Murders" if you prefer!)
BILLY CAREWE/STEVEN SELLERS (RUSSELL WISEMAN)
This was a splendid performance, capturing in his role just about all the dramatist had put in it and expanding it superbly with extra business over the "fly" and with such a well observed drunkenness. Of course that did repeat what we had heard before and it was slower, but that is the writing rather than the acting. His voice was strong, well projected, full in tone and used with pace and with clarity. This was matched by his wonderful stance in the "play". His natural energy was what the play needed whether showing affection for Violet or standing up (just) to Dr, Forbes. He used his eyes well, too, looking up as he declared hopelessly,
"I can't quite remember his name ".
He made the character his own, adding his own brand of humour in the lively way he reacted to all that was said to him. He was a great partner for Violet and the two of them played some good, well stressed comedy together. Well played Russell!
VIOLET IMBRY/DIANA LASSITER (ALI CLARKE)
I am not sure that she followed either the programme note to look like a hairdresser, or the author's note that "science may one day discover a pretty brain behind a pretty face! " She seemed to have both in her character, who had trouble with the wig (deliberately) but was graceful in speech and captured the spirit of the ingenue. Ali's stage craft was good, with excellent business as, for example, with the upside down book and the ruby inside her neckline, but whose delivery - with good tone and clear diction, also made the most of the lines about "hand/ pants " and the
"You didn't tell me there was a curse on the White Ruby of Ranchipur? " Her comedy was sharp, too,
.. my dearest darling, but what did you know when you found this foul fiend's flagon? " She was a true partner to Russell in making comedy - well done Ali!
LOUISE PEARY (GILL BIRTWISLE)
This is a little prejudiced on the part of the author - he makes her plain and a bit of a loner. Fortunately, Gill had other ideas and turned her into a convincing and at times very funny performer. Her hammering, incompetence with sound may have relied on technical help, but her lines were her own and well delivered, with sharp tone and a nice line in defensiveness, "Sorry, I forgot to wind the tape back".
Good business, complete with gaffer tape, and some quick cues, she could be agitated, too, using a strong clear delivery,
"There's nothing on it. Nothing".
She did, after all, have the last line in Act One.
Nicely done, Gill!
PHYLLIS MONTAGUE (LYNN SLINGER)
No one can really live up to the descriptions made by the "cast" of what this writer has been doing and is doing with the play. In fact when she appeared she was well dressed and a lot more engaging and glamorous than we thought. But the quick and high pitched semi-hysterics, using face as well as voice, soon redressed the balance and she carried this through with near tears and an expansive delivery of her speech, although drowned by thunder. She could remonstrate nervously,
"You're telling me that you now feel free to reject my play? "
or storm off in a chorus of "oh"s. It would have been better in effect if it had been kept off that high register but with a need to seem silly, it was perhaps inevitable. Lynn kept it consistent and kept up the pace throughout, using her talent to add comedy. Nicely done!
ENDEAVOUR, ORIGINALITY and THEATRICAL ATTAINMENT
I wonder who had the imagination, or foolhardiness, to pluck this 1980 play from somewhere and mount it as a major production at Moulton. It was certainly about as far as you can get from "An Experiment With an Air Pump. " Perhaps the director - for it was obviously well suited to his comic talents and he allowed the cast to give it a fresh, original touch or two. The joke definitely wears thin by Act Three, but Moulton DG pulled the stops out in originality and endeavor to make sure the performance at least was of a good theatrical attainment.
There was obvious endeavour in the teamwork of the backstage crew, the set constructors and the rest of the technical departments in creating the ingenious set and its varied stages of being built with success. The challenge to the costume and hairstyle designers and the properties team was well met and they were some of the attainments of the piece. It was theatrical and very funny at times - I could not prevent myself laughing! - and generally the quick cues produced some moments of real comic skill.
The cast were varied in age and experience but all related well to their parts and were mostly perfectly matched to them. Their comic timing was generally good and sometimes some were excellent in their handling of both the comedy, business and the parody. The stage positions were usually good, although some masking of exits occurred when not part of the "play" within the play. The orchestration of the quick fire clichés, individually and as a team in the parody, is something the group can be proud of.
It was cleverly lit, full of fun and hard endeavour. The audience came and loved it and they succeeded thanks to Derek and his assistant Joan and production team in making it all work so well.
The honours this time don't go to the author ( I don't suppose it was free like that of Phyllis) but, and keep back the thunder, to the cast who looked as if they were enjoying themselves despite the huge physical and mental efforts they were making. Well done everyone!
Garth Jones
GARTH JONES Adjudicator 2008/2009 |
