The Woman in White

I attended the opening night of this play and the audience were receptive from the start. The action for this three Act play, a Victorian thriller, took place in the drawing room of Limmeridge Hall in Cumberland. The plot was played out on a well thought out set which epitomised upper class wealth of this period. It featured a large room with wooden panelled walls which was elegantly furnished and included a rich, red leather chair and a Chesterfield sofa; heavy drapes and eight pictures which hung on dark green painted walls. The set was aided by atmospheric lighting and sound ( carriages outside) and a good selection of props, whilst the costumes and wigs were reflective of the fashions of the era. The Four Seasons was played during interludes between each Act and this was appropriate.

The story began when Walter Hartwright (Rod Bissett) arrived at the house to give art lessons to beautiful Laura Fairlie (Zo Fryer), employed by the family. He was troubled by the memory of a young woman dressed in white, ( later revealed to be, Anne Catherick, a nervy escapee from a local asylum), whom he encountered shortly before arriving, who also bore an uncanny resemblance to Laura. Marion Halcombe (Rebecca Holmes- Mears) was half-sister to Laura, and we learned as the story unfurled, she was suitably strong and bold enough in character, to be sceptical of Sir Percival’s behaviour towards Laura and endeavoured to do all she could to protect Laura. Miss Laura Fairlie at the beginning of the play was engaged to the scheming Sir Percival Glyde (Chris Waters). Glyde had a deep secret and planned to steal his future wife’s fortune. Glyde was also engaged in blackmail with the sinister Count Fosco (Ray Lawrence), who in turn-controlled Glyde’s own desperation. Walter Hartwright fell in love with Laura, his student, but out of respect for his position, and her engagement, he left, only returning later in the play to join Marion in a plan to expose Sir Percival’s dark intentions, which became more apparent after he had married Laura, and when the sinister Count Fosco arrived on the scene. The play did end happily when the wicked antagonists were exposed and Sir Percival died in a church fire. Walter and Laura were then free to marry. In the concluding scene we learned that the fugitive, that Walter had met earlier in the story, was Anne Catherick, illegitimate daughter to a Limmeridge household servant. And yes, rememblance to Laura was close and they both wore white.

Other characters in this play included the evil Countess Fosco (Amanda Glover); Mrs Catherick (Sam Allen); and the solicitor, Mr Gilmore( Dale Roberts) and the housekeeper, Mrs Vesey (Jill Simkin). Also in the mix of characters we met, Mr Fairlie ( Brian Lycett) the uncle of Laura and Marion, who was a hypochondriac, disliked light; and who couldn’t stand to have anyone make the slightest noise or come near him for fear of germs.

Director, Lynne Young did a marvellous job of this production and had clearly worked hard with the cast and crew to make the play, which seemed quite long sometimes, compelling. It was a tense storyline at times that necessitated careful attention to the dialogue and staging. The casting was superb, characterisations excellent and the mystery successfully held our interest until the end of Act 3.

Rod Bissett was the perfect Walter Hartwright, delivering this role of hero and detective with conviction as he wrestled with the growing sense of mystery and suspicion, as well as being love struck with Laura. Zo Fryer played both Laura and Anne Catherick amazingly well, transitioning from being a calm, sweet, dutiful, and enchanting gentle woman to a confused, demented, nervy woman who had escaped from an asylum. Her performances as both characters were both very strong and chilling; her acting impressive. Rebecca Homes-Mears portrayed the headstrong Marion robustly, believably as both sister and loyal friend to Laura. Rebecca delivered her role with commitment and confidence, her voice often tender and meaningful using facial expressions revealing her character’s thought processes. Whilst not afraid of revealing devious Percival’s conspiracy against the vulnerable Laura, she was helpless to stop the events unfold.  Mr Gilmore, the family solicitor, was delivered by Dale Roberts, who adopted a suitable air of authority in his voice tone and physical stance in this role. Brian Lycett was formidable as Frederick Fairlie, the reclusive hypochondriac and head of the estate who only cared for himself. The scheming and wicked Sir Percival Glyde was played well and with energy by Chris Waters; and his delivery of his character’s acerbic comments and rudeness made a strong impact within the household in Act 2. He was only bettered in the villainous stakes by Count Fusco and Ray Lawrence played this eccentric role so fittingly. Whilst he brought a touch of lightness to the play as he oozed charm on the ladies, he turned out to be behind the evil plot that he and Sir Percival had conducted to become rich. His body language and sustained Italian accent made him a very convincing, cunning operator. He seemed to revel in this part. Amanda Glover was suitably icy in her characterisation as the countess, her watchfulness over her husband almost creepy. Jill Simkin was appropriately cast as Mrs Vesey, the housekeeper, suitably subservient as she bustled around to look after visitors and residents. Sam Allen’s characterisation of Mrs Catherick created a standout character at the close of the play; very good.

This was not a short script. The cast did well to be almost word perfect.  It was a tale of love, betrayal and greed well told in this performance.

Congratulations to Lynne, the director and to all the cast and crew. Thank you for inviting me.

 

 

 

 

 

 

© NODA CIO. All rights reserved.