A Chorus Of Disapproval

Bacup Little Theatre’s newly formed society presented A Chorus of Disapproval at the ABD Centre, delivering an evening that proved to be one of the funniest and best‑humoured productions I have seen in some time. Ayckbourn’s script demands sharp timing, clear character work and a strong ensemble spirit, and this company rose to the challenge with confidence, creativity and a genuine sense of enjoyment that carried straight through to the audience.

The production made excellent use of the ABD Centre’s compact but adaptable performance space. The stage was initially dressed as a rehearsal, complete with the familiar clutter and informal atmosphere of amateur theatre. From this neutral starting point, the space transformed smoothly into Dafydd’s lounge and later the Hubbard lounge, each shift achieved with minimal fuss but complete clarity. Simple changes in furniture, props and lighting were enough to signal each new location, allowing the action to move briskly without interrupting the flow. The saucy photographs and the deliberately obvious honey‑trap setup in the Hubbard lounge drew some of the biggest laughs of the night, proving how well the company understood the rhythm of Ayckbourn’s comedy.

The ingenuity extended beyond the main stage. The bar area to the right was cleverly incorporated into the action, dressed with tables, chairs, beer mats and glasses to create a lively social hub. With the shutter raised, cast members could ‘order’ drinks, adding a semi‑immersive quality that suited the backstage chaos beautifully. On the opposite side, a small table became a tea shop, an excellent use of space that provided just enough privacy for those quieter, more conspiratorial moments. Props throughout were thoughtfully chosen and consistently effective, grounding the comedy in a believable amateur‑theatre environment.

Lighting was handled with wit and precision. General states kept the focus where it needed to be, but the standout moment was the intentionally over‑the‑top lighting plot scene. As two characters tried to have a serious conversation, the director’s interruptions triggered a rapid succession of colour changes, creating a wonderfully absurd visual gag that landed perfectly. It was one of the evening’s highlights and showed a clear understanding of how to use technical elements to enhance the humour.

Stephen Woods took on the dual responsibility of directing the production and playing Dafydd Llewellyn. Balancing these roles is no easy task, yet he managed both with assurance. His Dafydd was energetic, passionate, and occasionally overbearing, capturing the character’s blend of enthusiasm and exasperation with accuracy. His directorial choices, particularly the inventive use of space and the playful approach to technical elements, supported the production well.

Dale Nugent gave a gentle, understated performance as Guy Jones, charting the character’s journey from hesitant newcomer to accidental centre of attention with a lightness of touch that suited the play perfectly. His stillness and natural reactions allowed the comedy to arise from the situations around him, keeping Guy believable even as events became increasingly chaotic.

As Hannah Llewellyn, Amanda Kenyon offered a warm and steady presence. Her subtle handling of Hannah’s patience, perceptiveness and quiet frustration added emotional depth to the production, providing a thoughtful counterbalance to Dafydd’s bluster.

Gary Waugh delivered a smooth and self‑assured performance as Ian Hubbard, leaning into the character’s charm and opportunism with confidence. His scene in the Hubbard lounge, particularly the honey‑trap sequence, heard from behind the curtains, was played with excellent timing, and drew strong laughter from the audience.

Emily Miller brought lively energy to the role of Fay Hubbard, capturing her flirtatiousness and mischievous streak with ease. Her interactions with Guy were consistently entertaining, and her comic timing added sparkle to every scene she appeared in.

Graham Smyth gave a delightfully pompous performance as Jarvis Huntley‑Pike, his clipped delivery and sense of moral outrage providing a steady stream of humour. He paired extremely well with Gill Richardson as Rebecca Huntley‑Pike. Gill’s crisp characterisation and well‑kept accent added colour and precision, and together they created a believable, partnership.

One of the evening’s standout comic turns came from Niel Gioia as Ted Washbrook. His wonderfully shambolic portrayal, complete with emotional breakdowns, missed cues and gloriously off‑key singing, had the audience in stitches. His timing was impeccable, and his commitment to Ted’s earnest incompetence made every moment land. Jackie Phillips, as Enid Washbrook, provided a gentle and timid counterpoint, her understated reactions complementing Ted’s chaos beautifully.

Cerys Pearson brought terrific attitude to the role of Bridget Bains, shifting from stage‑manager energy to full‑on fight mode with great comic effect. She paired brilliantly with Emily Chaplin as Linda Washbrook, whose fiery temperament appeared in spectacular fashion as the pair clashed over Crispin Usher. Lucas Brame, as Crispin, played the charming and oblivious object of their affections with ease, allowing the resulting chaos to unfold naturally.

Gary Haworth completed the ensemble as Mr Ames, whose hilariously dreadful piano playing became a recurring highlight. His deadpan delivery and perfectly executed musical mishaps drew consistent laughter, showing real skill in making something intentionally bad look effortless.

This debut production from Bacup Little Theatre’s new society was lively, confident, and full of personality. The company showed strong teamwork, clear characterisation, and a willingness to embrace the humour wholeheartedly. The inventive staging, thoughtful use of space and well‑judged performances combined to create an evening that was genuinely enjoyable from start to finish.

My thanks to everyone at Bacup Little Theatre for their warm welcome and hospitality. It was a pleasure to attend such a spirited and entertaining production, and I look forward to seeing what this promising new society presents next.

 

© NODA CIO. All rights reserved.