Bleak Expectations

Richmond Amateur Dramatic Society continues to impress, not only with their ability to put on slick and polished productions but also in their choice of plays. Bleak Expecations was a fabulous choice for the Society and Director Scott Fenney knowing just how slick the Society are at comedic performances and his cast yet again proved this.

Originally written for Radio 4 the genius script writing of Mark Evans has been brilliantly adapted to stage and RADS found and mastered all the ridiculous humour from within the script and added their own physical comedy alongside it. The clever Dickensian links mixed in with slapstick Monty Phyton-esque humour were a beautiful match. Throw in some suitably over the top melodrama, modern links (even Meatloaf lyrics got in here somehow) and great individual performances and it’s no wonder this was a belly laugh performance from start to finish.

The story basically tells the story of Philip Bin and how in his youth he was forced to try and save his family from the evil and ironically named Gently Benevolent who is desperate to get his hands on the inherited fortune. James Sanderson as Sir Philip Bin was wonderful as he narrated the story of his youthful self, his passion and energy in his tale telling almost as enthusiastic as his Scotch Egg eating and Brandy drinking (yes I did say it was insane!). When not draped in his arm chair in grandeur he was commanding on the stage in and out of the flashback scenes with a very clear narrative. The story began with the tragic passing of his father Thomas played with great pomp and refinement by Charlie Grumbley alongside his wife Agnes Debbie Bowman who sadly, yet hysterically dipped into a world of depression and strangely ironing and material obsession. Debbie was so much fun to watch in this role, really understanding the character and the stupidity of her demise.

It was great to see a lot of new and younger faces in the cast, all taking on substantial roles. None more so than the Bin family trio of Pip Bin (Archie Amery), and his two sisters Poppy and Pippa (Cailtin Paterson and Coral Lincoln). The three of them looked like seasoned pros completely embracing the absurdity of the story and building ridiculously believable and lovable characters. 

Coral Lincoln was brilliant as the slightly dim-witted and naive Pippa, desperately avoiding a doomed marriage to our Baddy of the story. Her dead pan facial expressions were perfect and matched the almost monotone delivery of her lines excellently. On the other hand we had the over the top, full of life yet ridiculously melodramatic Caitlin Paterson as Poppy. A sensational showing of her character with her line delivery full of drama and excessive passion. Caitlin managed to pretty much take over the end of act One with just 3 words, “I’m so cold” delivered again and again but with so much extravagance - it was a really great characterisation. Her death ended a great showing sadly but even that was so dramatic it delivered the perfect balance of humour and tragedy.

Whilst his sisters either went into hiding, or tragically died, Pip sets off on a journey to save his remaining sister (and her anvil!!) and the family estate. Naturally he would encounter many strange individuals and absurd situations along the way. None more so than the utterly brilliant and hysterical Lee Morris playing 4 different members of the same evil family. From the disgustingly perverted and sadistic Headmaster Wackwell Hardthrasher, the strict and hard taskmaster Miss Chastity to the slimy and menacingly corrupt Judge Solomon. Every single one was suitably played with great humour and weirdly enjoyable charm. Mastering 1 character in a show is no small feat yet Lee managed to absolutely nail the delivery of all 4 roles.

Also doubling up and appearing early on in the story, he also dies, was Aaron Harland as the weirdly generous Skinflint Parsimonious and later Pip’s school friend and close friend and ally Harry Biscuit. The two friends master a great plan to escape the boy’s school (sadly not involving swans!) and return to save Pip’s estate. Aaron delivered the slightly dumb yet ridiculously loyal friend with a lovely warmth to him. Demonstrating great physical comedy, Aaron’s line delivery was excellent whilst also really understanding the importance and impact of silence in the role. 

Now not all roles were loveable in the play and Mike Walker’s delivery of the evil Gently Benevolent was nothing short of comedy genius. A master (kind of) in the art of disguise, his cunning plans were almost as viscous as his piercing laugh and the way he swooped in and out of scenes was not only sly but also absolutely hysterical. It’s the extra detail that Mike gives such as his arched and raised arm across the face on each exit and clever play with over the top accents that has made Mike one the best amateur actors around for many years now. It was almost sad when he finally got his comeuppance at the end, although it seemed fitting to be at the hands of Coral and the anvil she had dragged around for the entire play..

Now as previously mentioned the story was that of Pip Bin and this role was played by Archie Emery who, despite being involved for pretty much the whole play, was an absolute bundle of energy throughout. He managed to ensure that the pace kept on moving whilst being utterly convincing as the chaotic and naive heir. It was great to see his character change with two disastrous love interests and his rise to fame and fortune with the invention of, yes you guessed it, the Bin! An excellent performance by this young actor and his scenes with Rachel Hall as the spinster desperate and passionately trying to win him over again had my sides hurting from laughter. Rachel’s physical performance from wearing a bag on her head whilst straddling Pip to her sexual letter writing (which somehow compared them to Otters!) was an absolute privilege to witness. The contrast between her and the sweetly smiling yet evil plotting and money hungry Flora Dies Early was a perfect balance. Chloe Reid’s contrasting wide smile and vacant expression ideal for this small yet impactful cameo role.

Other members of the cast would appear in many roles throughout with Bryn Turner, Jack and Karen Davies all adding extra content to the scenes. I must give a special shoutout to Elijah Enborn in just their 2nd ever production, The rise in confidence was huge and with their 1st major parts really excelled. Not only delivering lines with meaning and projection but being brave enough to take their time over subtle movements such as a prolonged side stepping exit. Definitely one to watch for the future.

Now I mentioned at the start how RADS are always looking for new plays or genres to keep the Society fresh but what is also great is to see the emergence of new Directors bringing energy and fresh ideas to the group. This was Scott Fenney’s first full play as Director yet you would not have realised it at all. The whole production was not only incredibly detailed with vibrant and colourful costumes with support from a large team, the props were bold and precise adding to the hilarity of the piece and more importantly the whole cast had clearly bought into Scott’s vision and direction of the show. The pace, for quite a long play, never dropped with clever use of the exits and entrances available in the Georgian. The many scene changes were well carried out, mostly by cast members and the emergence of props added to the comedy with hands visible from the wings passing them on all bringing extra humour to an already funny script. What is evident is that Scott, through his cast’s delivery, not only understood but loved the play and allowed everybody to embrace the chaos.

Normally at a performance I try to remain quite reserved in my seat however, along with the rest of the fully packed Theatre, I could not help burst out in audible cackles of laughter and applause throughout. Thank you to all cast and crew for providing a lovely evening of absolutely absurd comedy Gold.

 

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