Alan Ayckbourn's A Chorus of Disapproval

This first-rate performance of Alan Ayckbourn’s comedy once again enthusiastically directed by Jack together with his most able assistant Penny.

At the acting helm, James Hannaway held us with the mammoth role, both physically and verbally, with a constant beautiful Welsh accent in both speech but in Welsh in a vocal as Dafydd, please not ‘David’, Llewellyn. Exceedingly swift movement, plenty of thigh and shoulder slapping, cursing and bluster. Exasperation well portrayed, much as one knows is possible when trying to direct an am-dram group with an ambitious piece like the Beggar’s Opera! He was supported by Rachel Croft-Golding as his wife Hannah and mother of twin girls, who is to play Polly Peachum. Having opened with Scene 1 as the final performance of BO we go back three months in time to a see how newcomer to the world of am-dram, recent widower timid Guy Jones, beautifully portrayed by Fraser Johnston, deals with his inability to say ‘no’ and the trouble he encounters. This play is hugely funny, with an underlying sense of emotion, tension, manipulation, frustration and ultimate achievement.

Chairman Guy Fillmore had once again displayed most professionally photos old and new, together with posters of forthcoming production. Refreshments and raffles were available. An easy to follow A5 programme using the boxer short theme throughout was pleasing to the eye, containing all relevant information.

The five-man design/construction team developed a well-set stage using the two side stage extensions. One remained in situ, an ‘80’s typical sitting room contained a rather large super man-doll with the other side multipurpose with slight changes from the Hubbard’s seductive sitting room complete chaise longue and erotic paintings, to not quite so posh Rebecca Huntley Pike’s garden. Blacks for backdrop used as central entry and exit of small pieces.  Effective local bar set with good props, the main theme of course being an open stage as would be for rehearsal with a few chairs and firmly set to one side the upright for dear Mr Ames aka The Beggar sitting patiently waiting to be summoned to play. The lamp standard, jail door and hanging platform were all well-constructed, placed and swiftly removed. SM Chloe Swan oversaw the stage crew. Sound from back of the theatre was fine although sometimes during passages where actors faced upstage I did struggle a bit.  Singing came across well and musical cues were fine.  There were a couple of sound effects that didn’t seem to happen. The lighting plot section was hysterical and very well executed. Costuming from Rita and Charlotte was particularly good for each character during both the play and the play within, together with natural make-up and in keeping footwear.

So many lovely cameo parts. I have to mention the particularly good pairing of ‘swinging’ couple Fay and shell-suited, medallion man Ian, namely Louisa Nelson-Chambers and Jez Druce. Great character gum chewing Crispin Usher from Simon Tomlinson and you always have to have a Rebecca Huntley-Pike, a majestic performance from Angela Woodcock. 

To you all as a team well done for portraying this insight into the world of British am-dram. Long may it thrive, and we should never forget the unsung heroes. It was just a pity the audience didn’t have an opportunity to applaud the performers during a customary curtain call that they so deserved.

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