Accomplice

It was the opening night of the Grange Players’ very latest drama; a performance that I understood to be about murder and mystery. Well, ‘Accomplice,’ directed by Rod Bissett, was so much more than this. This was a play with mind bending intrigue, full of cryptic clues and the unexpected. By the end of Act 1 it was clearly a murder mystery with twists and turns, shock revelations, as well as some comic elements. This play was not without its complications and seemed to be baffling at times, so bringing into life Rupert Holmes’ script and retaining the audience’s focus, it was dependent on swift direction for each scene and a well-cast team of experienced actors who could maintain fast pace in the delivery. This was accomplished well in this evening’s performance.

In the first scene, set in the home of Derek and Janet Taylor’s home, Janet (Helen Stott) and John (Paul del Gatto) were discussing and planning the killing of her husband by dropping poison into his whiskey and soda drink. They made sure that the phone didn’t work so that Derek wouldn’t be able to call for help.  A tape machine found by Janet indicated he was onto them. Unfortunately, Derek didn’t want to drink that evening but luckily, Janet had devised a back up plan involving a footbath and an electric hairdryer. At the end of the first Act, it appeared that Derek had been murdered, a story of murder and adultery but there was more to this play, things were not as simple, and we then learnt that the relationship between John and Janet; and Janet and Melinda (John’s wife) were not what we thought they were!

Having witnessed Derek’s murder on stage he reappeared as a playwright and director with a different accent, and we are led to believe we are observing a dress rehearsal with him very much in command. And so, the confusion began, for things were not what they seemed to be and the actors’ changed accents, when stepping out of their characters. The second Act brought out more surprises as things we thought were in the play, may not have been in the play at all. We were encouraged in the final scene to wonder if, maybe it was the real-life actors that were in the production were the ones who were plotting to do each other in! It was a performance where one wondered who the predator was and who the prey was.

Four fabulous actors carried off this play. They each had solid comic timing, versatility, and superb characterisations. Helen Stott was captivating in role as Janet, the devious, bewitching, manipulative wife. Her coldness as a murderer was most transparent. Corey Collin delivered his part as Paul Del Gatto , the understudy, in an equally charming manner; his characterisation was relaxed, and he seemed ’cool’ devising murder, quite unruffled. His performance in the final tortuous scene where he was not relaxed, was suitably dramatic and convincing, well done! Joshua Gallagher’s performance throughout the play in dual roles was bold and formidable. His ‘, death’ by electrocution was vivid as well as both alarming and funny; as a director he was suitably purposeful. Francesca Rees was delightful as the self-assured Melinda first appearing in a basque and blond wig but she too, so ably and confidently switched her character in different contexts and this was amazing.

Adding to the mysterious ambience of the play was the set design by Rod Bissett and his team of builders; lighting by Stan Vigurs and sound and lighting operation by Adam Wyke. All these elements combined smoothly to effectively make the audience believe every turn had to be the reality (until it wasn’t!).

This play was a brain teaser with a sprinkling of laughs and plenty of unseen surprises as the audience tried hard to keep track of the details ‘Central to the action is the fact that there is an accomplice in there somewhere.’

Congratulations to each member of the cast, you were amazing, and to you Rod, as director, for rising to the challenges of this script with gusto and reaping success.

Thank you for inviting me.
 

 

 

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