Accidental Death of an Anarchist

Centre Stage Company has recently begun using the impressive, spacious Haverhill Arts Centre for small, intimate pop-up performances to great effect. The main seating area is hidden, and the smaller audience is seated very near the performance space, which is on the floor in front, allowing them to feel as if they are really in the room where the action is taking place. The basic set is all that is needed to create the desired atmosphere, making very good use of the stage behind for the window, which becomes a character in itself in this maniacal drama, and the stage becomes quite literally a platform on which the Maniac so powerfully performed his final speech. The wood panelling of the theatre acts as a wonderful backdrop, blending in very well with the impressive office desk in the police building of the play.

The only scene change that was needed was handled brilliantly, where the usual pitfall of a standard blackout which causes a great sapping of energy, was completely avoided by the clever use of red lighting, entertaining music and the cast slickly moving what was necessary themselves.

The Director, Ryan Price, turned what could have been a difficult play to watch, into something original and funny, with various, often hilarious, innovations to break up the lengthy diatribes so excellently delivered by Benjamin Blackborrow’s Maniac. A very successful creative partnership, producing some real gems, such as the way Benjamin answered the phone, or tossed the bomb around, to the use of the punk music adding another layer to the original story, with, of course, the incredible dance to “Anarchy” at the end of the first act, brilliantly continued at the beginning of the 2nd, riotous in every meaning of the word. It was as if this play, written just before the advent of punk, could not have ever existed without it. Ingenious, to say the least.

The directorial choice of having the actors on stage, silent, for so long while the audience were taking their seats was fittingly unnerving, setting the tone for a script that was deeper than its surface comedy might have suggested.

The very simple, but effective two doors worked well, although it was somewhat confusing as to the function of the table next to the door on stage left. It seemed to be half part of the set, half somewhere the cast could take a drink (which must have been needed due to the long, wordy scenes). It became a distraction, pulling focus from what was happening in the scene. Either it could have been hidden by a screen, for the use of the cast, or dressed to be part of the set with cups being used (as it did have a teapot on it) to make it part of the action, rather than the plastic water bottles which looked very out of place. These bottles, together with the modern lanyards, did not fit with the traditional telephone or typewriter on the office desk.

Benjamin Blackborrow’s performance was extraordinary. He was one hundred per cent convincing as the Maniac, with enough variety in his theatrical delivery to keep the audience interested throughout his wordy speeches, never stopping or hesitating, but delivering his lines so artfully throughout. Sometimes a little too fast for the full meaning of the subject matter to be grasped, but that would be how a maniac would behave. His energy, expressions, physicality and quick costume changes under the desk were phenomenal.

Luke Allen as Inspector Bertozzo provided an excellent foil to the rantings of the Maniac, the first scene playing out so well that the audience were hooked, wanting more. James Player as the Constable did well to stand there so patiently throughout the play, an important presence in the room.

Charlie Jones as Sports Jacket was clearly enjoying his role, and Jane Baillie provided a good contrast in her portrayal of the Superintendent. Deborah Mansell’s appearance as the Journalist served to upset the dynamics of the story so far, her confidence as an actor doing justice to the overconfident character she was playing, softening subtly as her scene progressed. She certainly has a great stage presence.

This was not an easy play to produce, so the director and cast must take credit for creating enough variety and points of interest to keep the audience engaged till the very end. Well done to all, and thank you to Claire Harvey for her welcome and hospitality as always.

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