Above and Beyond

Bispham Castaways continue to establish themselves as a company rooted firmly in community, inclusivity, and a genuine love of theatre-making. From the moment I arrived, there was a clear sense that this is not just a group putting on shows, but a space where people come together to be creative, to support one another and to feel part of something. That atmosphere cannot be faked, and it is something the group should be very proud of.

For this production, the company presented Above and Beyond, an out of this world comedy by Robert Scott, directed by Ian Dodd. This is a script packed with dialogue, quick exchanges and character-driven humour, and it was immediately clear just how much work had gone in from the cast. The amount of text each performer had to learn was no small task, and it was particularly impressive that, despite having a prompt in place, this support was not needed at any point. That in itself speaks volumes about the preparation and commitment from everyone involved, and it allowed the performance to flow with confidence.

The set was a lovely surprise. It is always nice to see a box set used within a smaller community space, and it showed that real thought had gone into creating a believable and flexible environment. The transitions between hotel, bookshop, and MI6 office were clear and effective, helping to ground what is, at times, a wonderfully bonkers storyline.

The central performances helped to carry the story well. Katy Randall as Dee and Susan Hope as Ess worked particularly well together, creating a believable and engaging dynamic. A real highlight came through their shared comedic timing and physicality, particularly in the moment where Susan, determined not to look at the aliens, focused intently downward, only to realise that everyone else was looking straight at her. It was a clever piece of direction and landed exactly as it should, with a ripple of laughter across the audience, myself included.

Taylor Clark as Tee and Conor James as Alexus both brought a good level of energy to the stage, helping to keep the pace of the piece moving, while Amanda Knapp’s Philomena provided a steady and grounded presence within the group.

Martin Thompson as Mortimer was a standout across the evening. He maintained a straight, serious character throughout while still delivering the humour with well-judged timing. His physicality helped sell the idea of someone trying to keep everything under control as the world around him became increasingly chaotic, and some of these moments had me quietly giggling along with the audience.

Angela Crossley as Rummage created a character that was hard to ignore. From the bold costume choices to an accent that seemed to travel freely, sometimes Scottish, sometimes Northern, and occasionally somewhere entirely unknown, she fully embraced the “out of this world” nature of the role. It added to the unpredictability of the character and made her presence consistently engaging.

John Robinson’s Alf brought some very enjoyable moments. His full green appearance made an immediate impact, and his dry delivery worked well with the humour in the script. The running thread around “jam” was a particularly nice touch, giving him some memorable and gently recurring comedic moments that landed well with the audience. I did find myself briefly wondering how on earth he was going to get all that green paint off at the end of the night, and whether his pillow might be in for a surprise.

Graham Wilcock and Debbie Flavell as Mr. and Mrs. Blowette created an entertaining double act. Their unexpected on stage “birthing” scene certainly caught the audience off guard and was one of those moments where you could feel the whole room react at once. Debbie fully committed vocally, while Graham captured the familiar, slightly bewildered partner, making the scene both amusing and memorable.

Helen Bailey’s Hoffenstoffen was clearly defined, maintaining a consistently grumpy and stern presence throughout, which gave the role a strong identity. Hayley Price as Rezendeer leaned into the more outlandish side of the script, with a heightened energy and a clear awareness of the audience that added to the humour. Tyler Mercer, as Assistant, contributed well through physical characterisation. Despite having no dialogue, his presence supported the slightly otherworldly feel of the piece.

Behind the scenes, the production was supported by a committed team. Director Ian Dodd guided the piece with a clear understanding of its style, while Technical Director Ian Fleetwood ensured things ran smoothly. Sound, managed by Taylor Clark, and lighting by Alan Westhead supported the action effectively. Dave Hart backstage kept everything moving, and Lore Owen was on hand as prompt, though not required on this occasion. Photography by Abbie Dodd Photography and printed materials designed by Susan Hope added a nice professional touch, while props and costumes, managed by the cast and crew, reflected the group’s collaborative spirit.

There are a couple of areas that could be refined going forward. The pre-show announcement, while important, felt a little long and slightly too quiet in delivery. This moment is a real opportunity to set the tone. A shorter, sharper announcement that clearly delivers the necessary information and then builds energy into the start of the performance would help, ideally leading straight into the curtain opening and the show beginning with a sense of momentum.

There were also a number of blackouts and full curtain closures used for scene changes. While these are sometimes necessary, they did occasionally interrupt the flow. Exploring ways to make transitions part of the action could help keep the pace moving and maintain engagement.

What stood out most across the evening, however, was the sense of community. This is a group that clearly supports one another and creates an environment where people feel comfortable getting involved, regardless of experience. That sense of encouragement and inclusivity is something many companies strive for, and Bispham Castaways already have it at their core.

It was a shame that the audience was not larger on this occasion, as the company deserved a fuller house. Community theatre relies on community support, and it is to be hoped that more people come along to enjoy what they are creating.

Thank you to Bispham Castaways for the warm welcome and the invitation to attend. It was a pleasure to spend the evening with you and to share in what you are building. I look forward to seeing your next productions, and particularly your upcoming interactive murder mystery.

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