Alan Bennett's Habeas Corpus

‘Habeas Corpus’ literally  means ‘that you have a body’. Bennett looks at the then described permissive society, with a naughty seaside postcard take of family characters who reside in Hove actually, looking at their human weaknesses. The time is 1973 around the home of unambitious, suave, lecherous  Dr Arthur Wicksteed, a man of 53 who has a yen for young flesh, convincingly played with charm in both script and poetry by newcomer allrounder, Paul Carpenter. Supported by his somewhat forceful wife, Muriel – Monica Janssens looked and sounded the part, with a good walk, carriage and strong character. Max Chesters played with credit the Wicksteed’s inactive, hypochondriac young son Dennis, and lastly Arthur’s flat-chested sister, drab and secretly longing for sex Connie Wicksteed - Joanne McBride, transforming herself before our eyes so very well indeed.

Angela Patrick performed a confident, stiff upper lipped, posh Lady Rumpers, recently returned from overseas, smartly dressed in turquoise with hat to match. Concerned with the welfare of virginal daughter mini skirted blond hair twisting Felicity – tall Tilly Milnes carried off this slightly devious young lady rather well. She who our flirtatious doc is lusting over and seemingly Felicity is already pregnant! Muriel still has old feelings for Sir Percy Shorter, President of the BMA, who she refused years ago. Smart dress including waistcoat, specs, moustache and long hair, Geoff Down was suited to Sir Percy’s personality with some lovely comedy trouserless moments referring to his height and was finally thwarted.  David Richardson gave some comic moments too as Canon Throbbing, liking magazines of a sort, wishes to marry Connie who has decided to send for a false bust to enhance her looks. Michael Whitely spent a great deal of his performance looking for his trousers, sporting a wonderful pair of red/white/blue boxer shorts - Mr Shanks complete with tape measure, the bust fitter, arrives to mistake already well-endowed Muriel for his client Connie. Aroused Muriel pursues Shanks. A confusion of misreadings, trouserless gents, hypodermic chases, threats of exposure, to have Wicksteed struck off and Dennis with his fatal illness declaring forthcoming marriage to Felicity (she wants a father for her child), and he will soon leave her as a widow. Too much information?  With an interruption from depressed patient Mr Purdue, about to kill himself, Muriel about to throw Wicksteed out of the marital home, arguments as to whether Sir Percy or Throbbing should marry Connie. Shanks comes around from his tranquiliser and states Muriel is a sex maniac! Wicksteed now wants her to leave the family home. These wonderful cartoon characters came beautifully to life, reacting with pace which lapsed now and again. The story was narrated by the perfect char lady ‘oovering, ‘oovering, ‘oovering Mrs. Swabb – she of doom and gloom, the all-knowing. scarf and overall said it all, what a character comically portrayed by Tina Gallagher.  The final revelation came from Lady Rumpers that it seems history is repeating itself, for she was seduced when young. Finally, Arthur and Muriel agree to resolve their differences. There was a good mix of music hall, great comedy well delivered, poetry and indeed pathos after all we are none of us going to live forever!

The two location, open set was skilfully constructed and managed by Peter Huxley on smoothly running discs either side of the stage, good 70’s furniture, fittings and decoration, turned mainly by the actors themselves using both sides creating quick changes. At the rear was a raised seaside prom with railings, a splendid blue sky with moving clouds and seaside seagull cries. On opening our depressed Mr Purdue appeared in his cloth cap eating fish and chips from newspaper. Nice touch. The setting up for the proposed hanging was most impressive and quite concerning, and Michael Patrick, excuse the expression, executed this action very well indeed adding soulful expressions to match.

A challenge was set for John Sewell for the colour variations, musical excerpts and the many offstage sound cues. Jane Barton together with Angela Patrick ensured good era costuming and with David Waters’ direction and some good natural movement, although manic at times, created by Heather Barnes, the company gave us  a well-presented play that was adjudicated so very constructively by highly qualified Charles Evans, for this year's KDA entry.

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