Bleak Expectations

This could be my shortest ever NODA report – STARS production of Bleak Expectations was absolutely bonkers! But in a good way! Perhaps I ought to elucidate a little?

Bleak Expectations was originally an award-winning BBC Radio 4 comedy which has been adapted for the stage by creator Mark Evans. Charles Dickens undoubtably, one of the world’s famous authors, inspires this romp through 19th century London, with slight nods at various novels (not all by Dickens) along the way.  Telling the story of Pip Bin, who narrates his own journey, it’s a Dickensian spoof with knowing nods to everything from the cost of interval ice cream to weakness of the gin at the Lawnswood Arms. 

The master of the house and our narrator and guide is Dave Harris's gentlemanly Sir Philip Bin, who is ready to share the eventful and shocking story of his life. Dave’s deadpan expression and serious tones heightens the comedic effect of the script. And his timing was immaculate, cropping up in the most unlikely places, including a bookcase and a grandfather clock. (I did say it was bonkers!)

Sir Philip introduces us to his younger self, delightful Joe Collins’s ridiculously sympathetic Pip Bin, bringing an energy to the role which never dissipates despite barely leaving the stage. His comedic timing is brilliant and his facial expressions are hysterical. Alongside Pip, we meet his susceptible sisters Pippa and Poppy, played with a knowing naivety and plenty of girlish spirit, by Mia De Luca and Neo Birmingham. 

The siblings parents, Agnes and Thomas, were played by Jane Collins and Bernard Wilson. In her descent into madness Jane became a horse, a cat and a cockney carpenter, with many a nod to Eastenders along the way. Thomas was the first of many characters played by Bernard, with a multitude of accents ranging from a very broad Yorkshire through to a very camp Frenchman, all delivered with Bernard’s usual style. Comedic masterpiece performances from both of them.

Chris Binns, meanwhile manages to steal pretty much every scene he’s in as a quartet of Hardthrasher siblings, including sadistic headmaster Wackwell. As ever, a delight to watch.

Pip is aided and abetted along the way by his bestie , the ever-hopeful but always inept Harry Biscuit, Leo Mercer excelling in the role. Leo had also portrayed Skinflint Parsimonious earlier in the play, a benefactor to the Bin family who certainly didn’t live up to his name. 

Every Victorian drama needs a villain – in this case, it was the inappropriately named Gently Benevolent, played to the hilt by Dave Collins. What a talented family! 

Pip eventually meets the love of his life, the wonderfully named Ripely Fecund, just one of the apparently dozens of progeny of Mr Broadly Fecund (Bernard Wilson in yet another guise), played with exquisite comedic sensibility as the swooning but feisty maiden, by Sue Bennett.

Support was provided by Julie Birmingham, Rachel De Luca and the stage crew!

As always at STARS, the set was such a wonderful design, with drawers and clocks that became doors, piles of books that became all sorts of things and many visual Dickens gags – Dombey & Son gravestones, Dick Inns etc. Congratulations to the designers Chris Binns, Dave Collins and Mel Silver and the team that actually built it. The set was well dressed with some fascinating props, including a full size swan, a sword made of bread and an anvil (remember, bonkers?) David Waite rose to the challenge admirably.

Lighting (Peter Wallwork and Andy Wright) and Sound (Neil Bradford) enhanced the production – sound effects were both timely and appropriate ; lighting cues were spot on (pun intended). Costumes, courtesy of Clare Burnside and York Theatre Royal, were all suitably Victorian.

The play was expertly directed by Chris Binns and Dave Collins, with production assistance from Ro Saville, and stage managed by Nicki Hood.

So hurrah, huzzah and harrumble! Another success from STARS.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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