Blue Remembered Hills

Blue Remembered Hills is a stage adaptation of a TV play first aired in 1979. It concerns a motley group of seven-year-olds on a summer’s day in the early 1940s. Written by Dennis Potter in his trademark Forest of Dean dialect and using the dramatic convention of having adults play children, which Potter was also known for.

A lovely open set greeted the audience with touches of nature. The hazy, caramel tones of all the trimmings were appreciated and put you in mind of an endless summer day. The lighting and sound throughout were well considered and the spreading fire and smoke was very effective. Well done Jan Taylor, Tony Bancroft, Steve Morley, and Bryan Shakeshaft for providing these atmospheric elements.  

Once the play begins, it is a relentless whirl of constant activity, bursting with childish joy and delight. But it soon becomes apparent that this naive wonder is misguided and is actually masking a deeper unease and horror. It is difficult viewing at times, childhood traumas described under a thin veneer of apparent innocence. It is a hard play to engage with because every character is downright mean and, in some cases, malicious and worryingly destructive – every dialogue section ends in bullying or violence, taunting and upset. This may have been Potter’s intention to question nostalgia – do we look back and gloss over? Is our wistfulness for the past justified? Either way, it is uncomfortable to watch, and another act may have been too much – as a one act, it works well. Sometimes theatre is supposed to be uncomfortable, to make us feel and think.  Perhaps these children were desensitised because of the war they were living through…maybe they needed to be mean to survive…maybe the had to show off to be noticed.

Sale Nomads' production made us feel and think, which shows they dealt with the material appropriately. The characters were nicely nuanced, and the differences were pronounced.

Willie, played by Michael Colclough was endearing and the character nicely explored. The dynamics between Willie and Peter were well enacted and Michael managed to keep the energy and sincerity going even though prompts were required, well done the timely Elizabeth Jones. I am sure with more experience these skills will develop even further.

Roberto Lavorini gave us Peter. A bold and bravado-led rendition that still held the genuineness of a child who believed his own lies. A lovely, natural performance. Well done.

Alex Hall as John and Arthur Hulse as Raymond were an engaging duo. Raymond could have been considered a target of ridicule but there was a charming bond between these two that rang true in real – life relationships. The brotherly protectiveness was played at just the right level and the relative stillness of Arthur’s character against the other players was noted and welcomed.

Also contrasting nicely, for the most part, was the tomboy Audrey and more “girly” (For want of a better label…) Angela played by Jenny McDonald and Grainne Wiggan. Their focus can not be denied and in the group scenes it is hard not to watch these two reacting and giggling. The facial expressions were also a treat! Congratulations.

Ade Godding as Donald was an exceptional performance. His trauma was palpable, and the wide-eyed innocence was also construed as the haunting look of someone who has lived through some horrific times. His scenes were correctly distressing – the crying completely believable. One came away still worrying about Donald, the child, not the adult actor – which is when you know a performance has really touched you. Very well done!

Bea Turner handled the content and space well. Yes, it was unpleasant viewing at points, completely intentionally but treated well. The dramatic devices of freezes and the adults playing children were all given appropriate attention too. Congratulations.

© NODA CIO. All rights reserved.