A Bunch Of Amateurs

“A Bunch Of Amateurs” is a typically English comedy designed to make every fan of amateur dramatics smile as they recognise some of the problems every director faces from time to time. I know there is no such thing as a prima donna in district 3 but if there were he or she would probably exhibit similar characteristics to the linchpin of this play, one Jefferson Steele. Jefferson is a big American movie star with an ego to match. He is used to being treated as such. It comes as an enormous shock to him to realise that far from playing at Stratford-Upon-Avon, as his agent has informed him, he is in reality booked to appear at a run-down village hall in a remote Suffolk village alongside the bunch of amateurs that furnish the play’s title.  And what a part! That of King Lear, probably the most difficult role in the whole of western drama. It transpires that in order to save their much-loved hall from demolition the local drama club has written to a long list of acting greats imploring them to come and star with them in order to attract media attention and lots of cash. Jefferson is the only one to have replied; or rather his agent. The amateurs do not even get his pedigree correct constantly referencing his supposed greatest roles only to be consistently informed, “that wasn’t me!”. Neither are any of the usual luxuries lavished on stars of his magnitude, (such as chauffeured limos), forthcoming.  This all adds up very nicely to that essential staple of dramatic art… conflict. 

The set, by Brian Haworth, created the feeling of a “seen better days” village hall very well. One large door at the back was well used for the many dramatic entrances and exits by all the players who exhibited fits of pique from time to time.

The director of King Lear, Dorothy Nettle, is the pivot around everything else revolves. Without her determination and ability to stand up to the creature she has unwittingly invited into her territory the play would soon be over. Annie Wildman was everything the part demands. Firm and exhibiting many of the qualities of a leader of vision she was totally convincing. Her company, caricatures of many types one encounters in amateur theatre (no disrespect to our beloved brotherhood, we are, after all, microcosms of society). Bob Cleve created a monster of his own as Nigel Dewsbury, what a superb name. We soon warmed to him for his amusing playing of a person with an inflated sense of his own importance. Haughty, superior and self-deluded perhaps but as it turns out someone with the common good at heart. Mary Plunkett, Jefferson obsessed and sexually repressed, was in the hands of Wendy Watson. I was totally convinced by her handling of this eccentric over the top individual. And here the director is faced with a dilemma. The two authors have mixed relatively normal characters, such as Dorthy or Lauren, who could easily fit into less farcical comedies, with more bizarre ones such as Mary and Denis who would slip comfortably into any Ray Cooney offering. Fran Osborne had recognised this challenge and carefully enforced that none of her carefully selected bunch over or underplayed (within reason) their roles taking account of the challenge outlined above. Rather Fran had managed to get an overall balance of styles in this play which moves from success to disaster and back several times. I had the pleasure of meeting Fran and was charmed by her. I am sure she had the total respect of all the actors which makes it so much easier to create such a satisfying end product. 

Alan Herron played Denis Dobbins, great name again. Alan was right on the button with his character. Well done. Kella Bowers charmed us as Lauren Bell, offering us a rounded interesting character with instant appeal. Jen Whiteside as Jefferson’s estranged daughter managed her American accent superbly. She was sassy and challenging well able to stand up to her father. I was not sure why the fool was there at all. I understand what the writers were hoping to achieve but I did not conclude his supposedly telling interventions were really needed. Why was he quoting from “Twelfth Night” when everyone else was 100% “King Lear” based? Fletcher Illingworth, dressed in traditional jesters’ costume, made the best of the role, however. His singing was clear and his capers entertaining.

At the conclusion of the play when all differences have been settled the actors come together to perform excerpts from “King Lear”. It is a shame, but obvious, why such small snippets are used to represent the power of this amazingly complex play. Nonetheless, it offered the cast the chance to show their full range of acting skills playing it straight. I would stump up the money to see them stage Lear any time.

Now then. If Dorothy is the pivot, Jefferson Steele is the hub. Richard Hubbard clearly had a ball creating this role. He moved well, knowing when to overact and when to underplay. Richard, that is Richard Hubbard, held the stage. We are of course interested in his character's reactions more than anything else going on. Richard gave us an immensely enjoyable depiction of this troubled character who eventually finds peace and reconciliation amongst this bunch of amateurs in a remote Suffolk village far removed from the deceitful glittering lights of Hollywood.

The audience was given a great night out. This was pure entertainment well done and much appreciated. Thank you, “Stage Two Downham”.

 PS. I confess to being a trifle embarrassed by carrying off that large bottle of champagne in the raffle but rest assured we will enjoy it with a number of our acting friends so it will stay “in the family” as we toast your success.

PRM.

 

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