Breath of Spring

This production of Peter Coke’s comedy certainly looked a treat.  The solidly constructed and superbly detailed set was excellent, with none of the wobble that can accompany the opening and closing of doors.  The interior decoration, with its wallpapers, picture rails and so forth, felt entirely in keeping with the fading grandeur of the minor aristocracy in the late 1950s.  Many of the properties, such as the brass coal scuttle by the fireplace and the magazine rack by one of the armchairs, evoked the era perfectly, while the furniture captured the austere look that characterised the post-war years.

The costumes maintained the visual quality of the piece, and every outfit captured something of the wearer’s character; these were complemented by period hairstyles.  Oh, and there were a lot of fur coats - attitudes towards fur were very different in the late 1950s, and this was one of the most striking indications of how long ago this comedy was written.  Era-defining music was provided by The Chalk Hills Mob, as they took to the stage before the show and during the interval to build the atmosphere and set the scene.

Could the cast live up to the technical standards of the production?  Of course they could.  Several of them had worked with the director on “A Bunch of Amateurs” last year, and I think this showed as there was a confidence about the ensemble work that is hard to define but was easy to perceive.  The words were secure with only an occasional suggestion of hesitation, and cues were sufficiently well known to ensure that a good pace was maintained throughout.  The blocking exploited the practical features of the expansive set, and if the doors and chairs drew the actors towards the wings, there was always the chaise longue and/or a drop leaf table to bring them back centre stage.

Body language was also well utilised to support characterisation: the Brigadier’s frequent pacing contrasted nicely with Nanette’s heroic stances and Dame Beatrice’s serene progress.  Gestures were used appropriately: occasional forceful movements for emphasis, minor tics (such as Lily the maid fiddling with her apron) for characterisation.  It was also noticeable that for the most part everyone sat very properly – straight back, knees together – so that when the conventions were broken (such as when Dame Beatrice and Alice are attempting to distract the Brigadier by sitting closer to him) we all instantly understood the significance.

As a comedy, this was a bit of a slow burner, saving the biggest laughs for the final act when characters had been defined and situations had been set up, and this was exactly how it should be.  With time and place established through the sets and music, and characters and situation through amusing yet plausible conversations and interactions, the scene was set for a riotous final act that would have been farcical in isolation, but here felt like the inevitable outcome from what had gone before.  An excellent evening’s entertainment.

© NODA CIO.  All rights reserved.

© NODA CIO. All rights reserved.