Canterbury Tales

Walking into Old Colwyn’s Festival Church, it is already clear that PMA Theatre is going for something a little bit different. Rather than the usual fare of rowed seats, we are sat at tables with drinks and tasty cakes. This isn’t a random decision, but one that makes perfect sense for the proceeding stage adaptation of Chaucer’s Canterbury Tales. The social vibe lends to the atmosphere. It feels like we’re at a medieval tavern, or even in the king’s court waiting for entertainment from the jester. And what a great evening we have ahead; funny, slick, clever, and very well performed. 

As the walk-in music (medieval covers of pop songs) fades, our MC takes to the stage. Played with dry humour by a charismatic Bob Greenhalgh, we know immediately that we’re in good hands for the evening. He introduces the pilgrims, who will be our storytellers, narrating a series of plays within the play. They are The Miller (Landon Sweeney), The Reeve (Sam Highcock), The Cook (Malc Angelsea), The Wife of Bath (Lindsay Jackson), The Franklyn (Jess-Louise Dailey), The Nun’s Priest (Alysia Dyke), The Pardoner (Jamie Mallon), and The Merchant (MVJ). 

Those familiar with Chaucer’s Tales will know that there’s an eclectic set of stories to come; from morals about greed and death to bawdy bottom-kissing. But there are many surprises in this production that, I’m sure, would have made the 14th century poet proud. Although the rhyming verse tradition remains, there are plenty of modern twists (with many a that’s-what-she-said). From a Pythonesque coconut clopping horse (with great sound effects from Shannon Jones) to a bed-swapping scene reminiscent of the Carry-On films, the humour draws from numerous sources. The set comprises of a bed for the many hanky-panky scenes and a window for The Miller’s Tale; simple but used to full effect by stage managers Simon and Nikki Barr. The performers utilise the Church’s space with panache, seamlessly moving from the stage to interact with the audience. 

Speaking of performers, the team effort of this large cast must be commended. Each of the pilgrims have huge monologues that requires light, shade, and strict adherence to rhythm and rhyme. Not only do they pull this off, but they each add their own style and humour. And among the players in the tales, there isn’t a weak link. Sam Falkingham and Keith Lewis play hilarious women (who know exactly what they want), Dani Buck brings fun tavern wench energy to Molly, Sofia Sotira Mavrou is a sympathetic and noble queen, Tom Spencer chews the scenery as treacherous Tom – and Natalie Allpress is subtle and sly as the old lady who leads the three friends to their doom. The animals shine too; Kit Greenhalgh as the cunning fox, and Amy Green as a clucking chicken. Rob Green provides excellent musical accompaniment. 

This modernised script by Phil Woods and Michael Bogdanov translates the medieval English for a 21st century audience, and the smooth and ingenious direction by Jo Greenhalgh ensures that this audience has a fantastic time (as proven by the laughing, clapping, and playful heckles). It is clear that Greenhalgh loves the source material, because the whole evening was a fitting homage to the humour of Chaucer. She has written a play about Shakespeare in the past, so maybe we’ll see a Beowulf production next, diving deeper into the English Lit canon. This reviewer is excited to see what she does in the future. 

Bravo to PMA for a fantastic evening. 

The views in this report are solely the opinion of the writer.

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