CHESHIRE THEATRE GUILD
MOULTON DRAMA GROUP - MDG

www.mdg.org.uk

Last Tango in Whitby by Mike Harding
May 2006

I think for all those who remember tea dances held in hotels, the local palais, or evenm the church hall this could prove to have been a very nostalgic evening. Mike Harding has created a light comedy based simply on an annual holiday for a group of friends in Whitby who all share a love of dancing. This is a simple formula as a piece of theatre and the writer touches on wide range of characters that are never too complex but well-observed. The renewed popularity of dancing has grown over the past few years with films and TV promoting the joy of it, in all shapes and forms and it works, as a subject for live theatre as well.

DIRECTION (Sheila Hetherington.) The actual organisation for the staging of the play worked well with technicians on the stage and audience on raked seating in font of them facing the main body of the hall.This allowed more space for all dance sequences that included quite a large cast. It was a pleasant focus for the audience to see a large projected view of Whitby at the back of the stage area as they entered the hall and similar views were used to successfully suggest other locations for the scene changes. This was simple but very effective.

There was nothing more simple also than a dozen bentwood chairs to represent the interior of the coach, and the entertainments area of the hotel was quickly organised with a platform for "The Shangri-Las " backed by a silver curtain and a mirror ball. Voila! It was well considered acting space that must have been planned by the director as there is no set designer mentioned in the programme.

The opening sequence on the bus was directed straight on to the audience with the actors looking directly at us. Because they were so close two or three of the actors did not project very loudly and lines were lost to us. Perhaps if they had a faint noise of the coach engine in the background it may have encouraged them to raise voices and project as they would on a proscenium stage. It did mean that the opening was rather low- key and tentative in parts. The overhead projector was making a loud buzzing sound so if the cast had raised their energy levels it certainly would have covered that sound.

Full marks for dancing to continue as the scenes were changed and tables and chairs were "danced" on and off as well. These were visually interesting for the audience and proved amusing too.

Sometimes I felt some scenes were played too close to the audience, particularly those intimate scenes between Pat and Phil. These actors were, without doubt, totally in control; it was more unnerving for closer members of the audience. There were a great number of funny moments in the play; that of Henry telling the Driver what was coming up round the next bend was laughable because we nearly all know someone who would do that sort of thing over a driver's shoulder! The dialogue in the bus was witty and amusingly suggestive even though we have heard it all before in some form or other. The unlikely friendship of Kathleen and Jessie had its moments too. There were good observations of people by the playwright but the dialogue never penetrated very deeply.which meant that characters were often not developed enough. The dialogue was good and entertaining but the best lines were definitely those between Phil and Pat; it was their more poignant moments that gave the play substance. The evening was enjoyable; it never reached a point of hilarity because it was too gentle a play but the performance grew in strength and pacexcspecially in the second half when the relationship between Phil and Pat began to develop rather quickly and was brought to the notice of the rest of the group. To mount this play at all,with the hidden demands of almost everyone in it having to dance and within a relatively small venue was no mean achievement.

CHOREOGRAPHY. (Sharon Cafrery.) The dancing interludes worked well and were an integral part of the whole performance. It was noticeable that there were one or two in the cast who were there for their dance skills and their participation was very welcome. They were Joan Slobom and Joan Christie (Alice and Edie). They certainly were the ones who knew all the moves and steps. There was a large number of dances to rehearse too as well as the choreographed changing of scenes with furniture to manage as well. It mostly went very smoothly although I did feel at times that the performers needed to inject more energy. or give a demonstration of something a little more special so it looked more of a theatre spectacle. A couple could have been spotlighted for a minute as they did something a little more complicated and then we would be returned to the normality of the hotel dancing. There were good images of the dancers leaving the stage whilst maintaining the rhythms until they were out of sight. Well done. The dancing contributed much to the success of the play

LIGHTING . (Graham Scott, Darren Targett) This play demanded some versatile lighting plans and everything seemed to work well in the performance that I saw. The lighting on the coach scene, stage right was bright and cheerful _This changed to the central area that mostly covered the dance floor scenes in the hotel. There was a great mixture of lighting states here for the dancing numbers.The red flood, the mirror ball and the silver curtain added a glamorous touch to the dance floor of the hotel and helped to vary the images of the couples on the dance floor by adding some different colour. The same area served as locations by the sea, a small cafe and often as a night time meeting for the erring couple. There were at least seventeen locations covered and all to great effect. Congratulations.

VISUAL EFFECTS.(Dave Hunter.) The projected images were very successful. That of Whitby delightful and it played its part as soon as one entered the hall ( auditorium). The other views of the town helped, with lighting, to set the location and were equally effective and there were quite a lot of them in the second half of the play. This was another secure area of the production.

SOUND.(Steve Birtwisle) The choices of music for the whole performance were ballroom or Old-Time dance tuness and they all fitted perfectly timed in well and faded on cue. They all seemed to be popular hits of their time and they were very hummable. I appreciated the choice of "Jealousy" for the closing scene. But how many cues were there exactly? I lost count and I think I detected some seashore sounds as well, but they were kept at a level that obviously was not too intrusive. I am simply in awe at how smoothly this and the other technical departments' responsibilities worked without any noticeable hitches. ( I know... you,re thinking "What's she on about? This was an easy one-") Great work any way.

COSTUME (Sue Green, Sue Huband.) I should imagine the cast helped out by using their own clothes where possible but there were some good character touches in the first scene. Henry was very smartly turned out whilst Jimmy was unmissable in his yellow shirt.. Maureen had on a very bright very large brooch and I liked Jessie's tartan hat. Some of the characters wore wigs, (and it did not matter that they were very obvious), because of doubling up that was necessary later in the play. Every one looked particularly smart and glamorous for the evening dance scenes in the hotel and the Shangri Las' silver striped waistcoats were really in summer entertainment mode. The sand dance costumes looked pretty authentic, especially the Wilson and Kepple ones. The hotel workers. Gino, Debbie and Clare were in uniform,and the boss, Mrs. Mingham was in smart formal suit. Exactly right. The fancy dress night worked really well, with the dalmation dog being very striking. I liked the Laurel and Hard couple but what was really noticeable was the riot of colour the costumes created in that scene . Throughout the performance there was nothing that seemed out of place or unsuitable at all. I appreciated very much that it was a big cast all with two or three changes or more to deal with so it was a marathon task to keep a check on everyone. How much space was there in the dressing room ??? Not enough!

PROPS. (Chad Meadows, Louise Hilliard) There were plenty of hand props to consider with suitcases and baggage, drinks to hand round in the bus, drinks on the ballroom tables and prizes to hand out. The set dressing was colourful and attractive, it was a striking sight to see the ballroom set with red table cloths and drinks on the tables. It was a welcoming sight, very warm and cheerful. The microphone worked smoothly for the talent night and I thought that that all props selected added to the performance but were kept simple and carefully selected. Nothing looked cluttered and left space for the dancing. Was there a dead seagull by the "rock"? I couldn't see from my position. Good work all round

CAST
KATH EEN (Sue Slobom ) This was an entertainingly acerbic woman, guaranteed to bring negativity to every situation. She had a permanently sour and disapproving look on her face that was skilfully maintained throughout the performance. She was manipulative with Jessie and one can imagine she was unable to make any genuine friends when she was at school so she made sure she found someone to impress and influence in adulthood! She had some wonderful lines to deliver and she did so excellently with good timing. This was a strong and effective performance and so funny when she kept her back stiff and straight, and her nose went even higher into the air as a gentleman asked her to dance. Kathleen could dance very well indeed and this role was important antagonist to Pat, whose life was taking on a happier note when Kathleen's never would. A very convincing and focused performance
JIMMY (Tony Bantock.) What a happy chappy this was, who liked to keep everyone on the bus entertained with his rude banter and stale jokes. I think it was the hat he wore that added to the comedy of the role and he helped to get the play off to lively start. He played more serious moments with Pat very sensitively and always found something to say that would lighten the atmosphere and make people feel better. This was a very likeable character and I enjoyed the interplay between JOAN (Lynda Bantock) and himself as man and wife. In terms of the play they were a well integrated couple and never more so when they were showing concern, and support of Pat. They both loved their dancing and Joan always supported Jimmy,( in public anyway). There was a warmth generated by both of these characters and their Laurel and Hardy outfits summed up their "togetherness" very well.
HENRY (Richard Kirkham.) This actor had a very naturalistic touch to his performance. Henry's insistence on talking almost continuously to the driver for half the journey was a highlight of the play. There was the odd occasion when he turned away from the audience and his voice dropped so we missed what he had to say but this was compensated with the marvellous story of the cat and the petrol, that was so well delivered. Whenever we saw Henry on stage he had a story to tell mostly anecdotes about his past times in the armed forces, but it was a pleasing and polished performance by this very able actor that made Henry very real .
MAUREEN (Sheenah Wiseman) Maureen's character was strongly projected and she had a posher accent than the others. She was almost as critical of life as Kathleen was but perhaps her friend's nasty tongue had not rubbed on her too much. Her poem in the talent competition was articulated perfectly and this is when we saw the truer side of Maureen, without Kathleen's influence. She was a bit of an extrovert and together with Jessie and Kathleen they were a truly gossipy trio. I particularly enjoyed the scene in the cafe where they told Pat exactly how stupid they thought she was and the short interaction with Jessie earlier when disclosing some of her and Henry's marital details It was rather sad really but funny. JESSIE (Gill Birtwisle) Last of the terrible trio, but not least was Jessie; rather timid and naive. She had an amusing vacant expression when jokes were being told because she couldn't understand any of them. There was a gentleness to Jessie which was effectively demonstrated by this actress and there were some quietly, intimate conversations that Pat and she had together, which certainly held audience attention . There was a nicely sensitive actress at work here. I appreciated this performance.
PAT (Denise Barry) Pat is the central character and the one that naturally has the most development throughout the play. We saw a Pat that sounded a little weary after losing her husband to cancer some months earlier but on the cusp of being ready to face a fairly normal life again. She was quite quiet, vocally, softly spoken but we heard every word. This quality suited the "secret " moments that she had with Phil and the character was endearing in that she made it seem the most natural thing in the world to be with him. But she was a girl who had always enjoyed a bit of fun in the past. She was very open about her determination to let her hair down The playwright made us believe it too because the scenes between Pat and Phil were cleverly and persuasively written. Pat was really rather determined that Phil should have the same attitude as herself . "... we're whatever we want to be Phil". There just needed to be some sort of resistance to it all, I feel, a greater doubt at some point. We saw all the nice moments of the fast developing relationship without any moments of strong resistance to it which if included may have given the play greater depth.and grip. However this is not a reflection of this actress's work which was very convincing and was in fact the backbone of the performance. The close-ups were excellent and we were readily drawn into the wish that she and Phil did find happiness. We were on their side.
PHIL (Peter Burkey) This performance grew in stature after a low-key beginning. In retrospect it may have been a deliberate indication that Phil was just not happy in his work but one or two lines were just too quiet. However this actor really delivered a believable Phil who desperately wanted to get away from his wife and the animosity between them. He gained the audience sympathy and the scenes between himself and Pat were very absorbing. We also saw a bouncier Phil in the fancy dress night in the ballroom he was definitely on good form like a man in love. There was a truthful change and development in the whole demeanour of Phil which was very commendable indeed.
EDNA (Lynn Slinger) She was every inch the disenchanted wife with strength and vitality in her interpretation of Edna. This actress looked like a dancer and moved well. Her sly remarks and sharp looks at what her husband was doing did give a hint of trouble brewing. She added another dimension to the production with this performance. The moment when she stopped the party by switching off the music after seeing Phil give Pat a kiss on the dance floor was well timed and her reaction was to make the clients suffer! Spoil their evening! We loved her reaction and the following scene too where she told Phil to go in very positive terms. There were tremendous energy levels that were exactly right for this performance. Excellent.
DRIVER/ JOHN (Steve Hulse) We had an amusing scene on the bus as the opener to the play. The driver had to face directly on to the audience and I must say it was a great piece of mime work as he shifted gears and checked his mirrors on occasions. It was also his facial expressions, when he had to listen to Henry telling him what to expect round the next corner, that were amusing as if he was thinking "It's going to be one of those journeys!". He had a totally resigned air about him that contributed much to the humour in that scene. As John he was son-in- law of Pat; but supportive of her daughter Sally's thoughts that her mother was acting like a teenager. He came across as a steady man naturally concerned about what was going on, and was convincingly played.
ALICE/EDIE ( Joan Slobom& Joan Christie) These were non speaking roles as friends on the coach but they were even more essential as dancers in the ballroom. These ladies knew all the steps and I suspect they are regular dance attenders of dances in real life. They never put afoot wrong.
DEBBIE & CLARE ( Bev Slobom & Karen McCabe) These two made a wonderfully gossipy pair. Debbie was the more gregarious of the two and she did not pull her punches when talking about OAP's. She was very bright and animated and quite shocking in her overt descriptions of a night out with friends. As they were folding napkins they talked very freely, with Clare appearing a little more restrained than Debbie. They were nicely contrasted as a duo and this was a memorable little scene. Gladly we saw them again in act two after Edna has shortened the dance evening and they were sent to clean up. Again we hear their uncensored opinions about the "geriatric gavotte" and her "with the face like a box of frogs" - Priceless!
They knew how to deliver the insults and with such energy. Very well done
SALLY/ MRS MINGHAM (Sarah Flannery) Mrs Mingham was the first speaking role ( although I am sure the same actress was on the bus, wearing a wig) and as the manageress it was a short time on stage but she was memorably officious and convincing when telling the girls to get on with the work. As Sally she had a greater chance to establish herself and her sharpness with her Mum sounded like any daughters would be when she found out that Mum was preparing to go off with someone she had just met on holiday. It was a confrontational scene but nicely played by this actress with a genuine sense of concern but really there was no question that Pat was going to get her way in the end. Very good work all round by this actress.
JET SHOP MAN / GINO (Alan Gill.) Two very different roles to play here: the shopman was portrayed as helpful and agreeable totally oblivious of the impact the word,"widow" had on the ladies. I did think that there was the opportunity to make something more of the character, despite the few lines in which to do it. He could have been really smarmy or ultra snobbish; an ideal opportunity for a young actor to show off his talents. The contrast when playing Gino could then be more of a challenge even though he only has a couple of lines. However the playing of Gino did work well even though it is an old ruse that he has to deliver about being born in Bradford, when Henry thinks he is genuinely Italian. The joke worked slickly in the performance and I hope the actor enjoyed taking part ,if only briefly.

Thankyou for your very kind hospitality on both occasions that I have attended this season. The productions have both been ones that I have not seen played before which made the evenings doubly enjoyable. My very best wishes for the next season.

Evette Harper