Business Affairs

Business Affairs by John Chapman and Jeremy Lloyd is a classic farce that’s about misunderstandings, mistaken identities, escalating chaos, and the wonderfully ridiculous lengths people will go to in order to hide the truth. It’s a play built on pace, precision, and the delightful absurdity of watching characters dig themselves deeper into trouble with every attempt to get out of it. This production embraced all of that with real enthusiasm, delivering an evening of laughter, sharp timing, and well‑crafted comic energy.

This was my first visit to SHADES, and I must say I was greeted by a wonderful and warm welcoming front‑of‑house team. There’s something special about arriving at a venue and immediately feeling the care and pride of the people who run it, and SHADES certainly offered that. It set the tone for the evening beautifully.

Taking my seat, I was whisked away into the world of Business Affairs, and the setting on stage was truly wonderful. I must say well done to Seymour Francis for the set construction, you really did feel as though you were in a hotel room, with all the attention to detail given. The layout, the furnishings, the door placements, and the subtle touches that farce relies on, such as clear sightlines, practical entrances, and believable décor, were all executed with care. The set didn’t just serve the story; it supported the comedy. In farce, the environment is almost a character in itself, and Seymour’s work ensured the actors had everything they needed to make the humour land.

What worked especially well with this cast was how they worked together. Farce demands pace, rhythm, and an understanding of each character’s function within the chaos. You could really see that within each of the performers and the way they interacted with one another. The timing of entrances, the quick exchanges, the overlapping dialogue, and the physical comedy all relied on trust and ensemble awareness. This cast clearly understood the mechanics of farce, the rising tension, the snowballing misunderstandings, and the importance of keeping the energy high without losing clarity. Their teamwork was one of the production’s strongest assets.

Mike Waldron as Stanley Bigley was brilliant. What was great about Mike’s performance was the way he delivered the dialogue with crisp timing and a natural ease that suited the character perfectly. His comic instincts were sharp, and he knew exactly when to lean into the humour and when to let the situation speak for itself. The way he commanded the stage was particularly impressive during moments of heightened panic, when Stanley’s attempts to maintain control only made things worse. As the pace grew, so did the farce, and Mike handled this with real skill, never rushing, never dragging, but keeping the momentum exactly where it needed to be. His performance anchored the show and gave the audience a reliable comedic centre.

Simon Thompson as Norman Harris was also brilliant. I liked the real dry humour Simon brought to the stage with this character, a contrast to some of the more frantic personalities, which made his moments even funnier. Simon grew and developed Norman’s characteristics throughout the play, giving him a clear arc that added depth to the comedy. His understated delivery, combined with well‑judged physicality, created a character who was both believable and delightfully absurd. Norman’s reactions, hesitations, and attempts to navigate the chaos were a joy to watch.

Jenny Taylor as Hilda Bigley brought a lovely blend of sharpness and sincerity to the role. Her presence added a grounding force to the madness, and her reactions to the unfolding chaos were perfectly pitched. Jenny’s ability to switch between exasperation, suspicion, and determination added layers to the comedy and made Hilda a memorable part of the ensemble. Mel Jones as Rose Harris delivered a confident and engaging performance, bringing warmth and humour to the role. Her interactions with the other characters were lively and well‑timed, and she contributed significantly to the rhythm of the farce. Mel’s characterisation felt natural and well‑considered, adding to the overall cohesion of the cast.

The duo pair of Martin Taylor as Kurt Hoffman and Nick Lowe as Sven Uberg certainly had the audience in stitches. Their perfectly timed comedy moments and delivery of exaggerated European charm were delightful. They embraced the physical humour, the vocal quirks, and the heightened characterisation with gusto, creating two characters who were instantly entertaining. Their chemistry was excellent, and their scenes added a fresh burst of energy every time they appeared.

As if the situation and farce couldn’t get any worse, then along come Jess Clegg as Valerie and Jane Pearson as Sabrina. Their characterisation of these roles was simply brilliant. Both performers understood exactly how to escalate the chaos without overwhelming it. Jess brought a bold, confident presence to Valerie, while Jane’s portrayal of Sabrina added a sharp comedic edge. Their timing, reactions, and ability to play off the existing tension made their scenes some of the funniest in the production. They contributed significantly to the rising absurdity and helped push the farce to its peak.

The overall play was great because it embraced the spirit of farce wholeheartedly, the pace, the misunderstandings, the physical comedy, and the delightful sense of watching characters scramble to keep up with the mess they’ve created. The cast worked together with real unity, the staging supported the humour, and the direction ensured the energy never dipped. It was clear that SHADES approached this production with care, enthusiasm, and a strong understanding of what makes farce so enjoyable.

Congratulations on a great performance of this play. I wish you all the best for your future productions.

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