Boeing-Boeing

As my tenure as NODA 4 North Representative comes to an end, it amuses me greatly that I am still capable of being surprised and delighted by societies and people I thought I knew well. The Swaffham Players were still doing big budget pantomimes when I first saw them. I was reviewing for the Lynn News and saw some huge productions. More recently they have contracted, and I think of them as purveyors of fine (intimate) cabaret. The last play I saw was at the Barn Theatre (part of the Sacred Heart Convent) and the review shows at the Swaffham Conservative Club. Well, here I was at the Con Club … for a play. A difficult farce called “Boeing Boeing” and there had been a disturbance in the farce! The drive over from Kings Lynn had been completely occupied with a single thought … “How the Sam Hill were they going to put on this play at this venue”. And then, after picking up a reasonably priced beverage I saw the set. Well, not so much saw the set as saw the room I knew well, completely transformed! An Autumn miracle, and I was (unusually for me) lost for words. The set (design and construction by John Dawkins and Bridget Dumbrell) was incredible. All 7 doors were present where most people who put on this title economise and go for 3 doors one of which suggests it might lead to other doors. No skimping in Swaffham … 7 doors … I counted them twice! Sound and Light (Roy Ivory) was functional rather than spectacular which was perfectly adequate. Costumes (Maureen Silver, Roger Bilverstone and the cast) were excellent. The difficult items like the Air Stewardess uniforms had been cleverly derived from more readily available clothing options and it all looked top notch, Incidental props (Bridget Dumbrell and cast) were not overly plentiful but caused me no offence whatsoever. There is truly no supporting cast with Boeing-Boeing. Some of the roles are larger than others but everyone has a critical part to play in a lavishly preposterous plot. Bernard receives an unexpected visit from old friend Robert at his Paris flat sometime in the 1960’s. Bernard tells him all about the three air stewardesses he is engaged to and as the plot unfolds. Robert learns about the precision of airline timetables and how one lady flies in as another flies out with never the twain (or three) to meet. Unfortunately, the best laid plans of mice and men (and French lotharios) unravels quickly as a storm disrupts … well everything really. It gets crazy but ends well, as all good farces should. In the smaller but incredibly pivotal role of Bernard’s housekeeper Berta, the prodigiously talented Sue Baxter was comfortably within her considerable range, with a part that could have been written for her. The occasional written gags were massively outnumbered by the many laughs she collected by simply rising her eyebrows or pulling a face. A masterclass (once again) in character acting from a lady who should give lessons. The three stewardesses, known in the script and rather uncharitably as America, Italy and Germany were played by Christine Haines as Gloria, Nicky Dawkins as Gabriella and Karen Nye as Gretchen. The ladies (I hope they won’t mind me saying) were a little more mature than is normal for the three fiancées. It was not even remotely an issue as Bernard had been aged up and they all matched fine. So good to see Mrs Haines back on stage. A great actress who did a really good job with this part. Mrs Dawkins is always a class act and pushing past a few first night nerves she looked completely comfortable as Air Italia’s finest export. I can’t honestly remember if I have seen Karen Nye before or not but as man-eater, Gretchen, she was also on top form. It is the most sexually physical of the roles and I have to say Mrs Nye did look just a little uneasy during some of the more intimate stuff. Having said that I think she proved without a shadow of a doubt you can still do sexy when you are over 30!!! The focus of the ladies and of the plot is of course serial monogamist, Bernard, and this was delivered by another face I didn’t know. Philip Wagner took a couple of early prompts to steady his nerves and went on to do a fine job with the central character. Penultimate paragraph honours go to yet another newcomer. Sean McDade as the quiet man who drifts innocently into the Parisian storm. A lovely delicate characterisation with a relaxed style that peaked at the moments of high stress. Mr McDade’s facial acting was a joy to watch as he had me laughing with just a look, or the smallest touch of his glasses. I understand he is quite new to all this and, if that is so, he should push on, as he has a natural talent and a personality that is completely endearing. My compliments are unreserved and extended to Director and Swaffham legend, John Hooker. Mr Hooker was suffering with a bad case of man flu when I saw him and so slipped (lem-Slipped) away for medication before I could congratulate him. The whole production looked classy right from the first sight of the set to the costumes and the excellent technical direction. This was a brave undertaking Mr Hooker, and you should proud of your crew, cast and yourself because I would say you pulled it off !

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