An Evening of Short Plays

This delightful evening of one-act plays offered a rich tapestry of satire, wit, and character-driven storytelling, brought to life by a talented youth ensemble and seasoned directors. The programme featured The Dear Departed by Stanley Houghton, Doggies and Dancers by Jean McConnell, and Fumed Oak by Noël Coward—each piece offering its own unique flavour of comedy and social commentary.

The Dear Departed by Stanley Houghton

Directed by Neil Ogden

This sharp-witted satire skewers the hypocrisy and greed of a seemingly respectable British middle-class family. Set in a modest parlour, the production design was simple yet effective, with furniture and props that reflected the early 20th-century domestic setting. Director Neil Ogden made strong use of proxemics, ensuring that all performers remained visible and engaged with the space, though occasional upstaging did affect audibility.

Isabelle Ryan shone as Mrs Slater, the play’s central figure. Her portrayal of greed and materialism was both commanding and nuanced, anchoring the piece with a strong stage presence. Lena Lisiecka brought a quiet dignity to Victoria Slater, the moral compass of the play, whose understated performance made her moments of truth-telling all the more impactful. Sophie Whitehead, as Henry Slater, captured the reluctant accomplice with subtle humour, aided by a charmingly dishevelled stage beard. Mia Arnold’s Mrs Jordan exuded authority and aloofness, while Coleane Buckley’s Ben Jordan added levity with a buoyant, cheerful energy. Giada De Rosa’s Abel Merryweather was a highlight—her sharp comic timing and lively delivery turned the play on its head with a delightful twist.

Despite minor issues with projection and pace, this youth production was performed with heart, humour, and a clear understanding of the play’s satirical edge.

Doggies by Jean McConnell

Directed by Tom Noble

A charming and deceptively simple piece, Doggies explores the subtle rivalries and social posturing between two women brought together by their dogs. Set on a seaside promenade, the play relies heavily on timing and subtext, both of which were handled with care.

Emily Kay as Thelma delivered her lines with consistent projection and a natural ease, ensuring the audience remained engaged throughout. McKenzie Ward as Eleanor had moments where her projection dipped slightly, but her characterisation was strong, and the chemistry between the two performers created many laugh-out-loud moments. Their polite conversation gradually evolved into a battle of one-upmanship, capturing the play’s comedic tension with finesse.

Dancers by Jean McConnell

Directed by Tom Noble

In this reimagined version of McConnell’s original, the two characters were portrayed as regulars at a dance class rather than tea dances, offering a fresh take on the themes of visibility, aging, and companionship. The play gently balances humour with poignancy, and this production leaned into both with confidence.

Emily Kay returned as Betty, paired with director Tom Noble himself as Wynn. Both performers embodied the physicality of seasoned dancers, complete with appropriate attire and posture. Their dialogue was delivered with great timing, and their interactions felt authentic and well-rehearsed. The subtle competitiveness and camaraderie between the characters were beautifully portrayed, making this a standout piece in the evening’s lineup.

Fumed Oak by Noël Coward

Directed by Norman Beaver

Coward’s “unpleasant comedy” is a biting portrait of suburban repression and explosive liberation. Set in a 1930s dining room, the production’s attention to period detail was commendable. Props and set pieces were used naturally, becoming an extension of the characters rather than mere decoration.

Harvey Millard gave a compelling performance as Henry Gow, gradually building from quiet resignation to a climactic outburst of frustration and defiance. His final monologue was delivered with conviction, holding the audience in rapt attention. Pamela Beaver’s Doris Gow was every inch the nagging wife, her emotional shifts adding depth to what could easily become a caricature. Abi Idowu’s Mrs Rockett was a comic delight—her exaggerated expressions and obliviousness perfectly captured the suffocating presence that drives Henry to his breaking point.

The cast handled Coward’s famously wordy script with clarity and pace, ensuring the humour and tension remained sharp throughout.

This evening of one-act plays was a testament to the power of ensemble storytelling. The stage lighting and sound by Harry Knight and Tom Middlehurst was well balanced and supported the intentions of each of the plays. Each piece offered something distinct—satire, charm, poignancy, or farce—and together they created a well-rounded theatrical experience. Congratulations to all involved, and a heartfelt thank you to Geoff Millard and the team at APeel for the invitation and warm hospitality. It was a pleasure to witness such dedication, creativity, and talent on stage.

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