Cash On Delivery

Cash on Delivery, by Michael Cooney, is, in every sense, a Great British farce, and who better to stage it but STARS.

"Farce-(Noun)” - a comic dramatic work using buffoonery and horseplay including a crude characterization and ludicrously improbable situations.” No stranger to farce, this company certainly knew what was needed embracing all of the above to put on a great production. They wrung every laugh out of a very clever script, resulting in a hilarious night of laugh out loud entertainment. It really was a farce in every sense of the word. Some scenes were idiotic and downright silly, but in the hands of these wonderful actors the audience laughed and laughed and towards the end of the play some were quite hysterical.

Mel and Fran Silver, Brian Stead and Jeff Brown along with scenic artist Julie Birmingham created a good-looking set. Together, they and the hardworking backstage team transformed a simple stage into a realistic living room which was perfect for Eric and Linda’s London home. STARS are renowned for their sets, and this one did not disappoint. It was clearly well-built, withstanding an endless number of doors opening and closing easily, a functional storage cupboard hiding a secret, a window box big enough to hold a dead body, an all-important staircase leading upstairs and a spacious hallway essential for the action in the later part of the play. The illusion of the garden outside the window was skilfully done and added realism. The set was finished off to a high standard and, as always, was dressed well with a lot of attention to detail, such as matching light switches and handles and keys, again, so essential to the plot. Thanks to David and Joan Waite for resourcing and handling a good set of properties. A full medical trolley as well as a trolley stretcher top to accommodate a look alike dummy or was it really the actor's head it looked so real. Another very memorable moment created skilfully was when the real Uncle George entered wrapped down with sheets on the stretcher part but able to stumble around the stage freely. Hilarious thanks to a clever, well-thought-out design.

Lighting was in the safe hands of Peter Wallwork and Daryl Harris and complemented the performance, whilst the backstage crew did their usually excellent job, led by Rowena Saville. I’m sure managing a temperamental washing machine which buzzed, bubbled and blustered from the kitchen throughout and then appeared shuddering and foaming to create even more havoc until final swallowing the long-suffering Uncle George and forcing its way onto stage trying to spit him out! This whole set up must have been a challenge, but this will certainly be remembered.

A special mention must go to Neil Bradford on sound who did a wonderful job of making sure that every time the kitchen door opened, we heard the washing machine and also did a great job of making the phone ring and stop at the right time always on cue.

This type of farce demands cutting-edge timing to be successful, and this production had it in spades thanks to the skilful direction of Chris Binns ensuring that the actors managed to maintain a relentless pace from start to finish. All kept the pace of the play running as they lied, sighed and bounced through the doors at regular intervals with well-timed exits and entrances. Characters in farce have to believe that the typical, farcical situations are real and portray to the audience that they are desperately trying to get out of serious trouble any way they can. The characters are serious; the resulting mayhem is funny. Congratulations on achieving this so well.

Dave Harris as Eric Swan was impressive as the benefits cheat, ducking and weaving as the legal net closed about him, He had little time off-stage with no time to think but never faltered performing brilliantly How he kept up with all the aliases he had and ones he gave others I have no idea along with knowing who had to go where this must have been a logistical nightmare requiring great concentration.

Dave Collins with perfect timing and great characterisation played Norman Bassett fantastically. He cheerfully mastered the art of thinking on his feet as his role in Swan’s deception changed almost by the minute, Dave reduced the audience to tears with his comical characterisation especially in the transgender scene.

Bernard Wilson as Uncle George played the stooge wonderfully, blundering into events he didn’t understand, the felling by the door was extremely well handled, gaining groans as well as laughs from the audience. With a good sense of comic timing and trust in his fellow actors he convincingly played the unwitting victim, especially in the role of a corpse as he was maneuvered and manhandled about the set by the rest of the cast. When he was finally put on a stretcher and carried away to the mortuary, little did we know he would come running back on, still attached to the stretcher — hilarious!

Martin Isbister gave a great performance and his deterioration into a drunken stupor was very entertaining. As Mr. Jenkins — whose change from friendly competency to almost gibbering idiot was extremely well acted. He had a true ability to look bemused and perplexed at all the explanations he had to witness, no wonder he hits the sherry bottle! Then he has to explain it all to his boss — He got a well-earned round of applause for that brilliant delivery. Going from official to washer repair man to drunk was very funny to watch. He dealt with the frenetic pace by counterpointing it with effective use of pauses and at times slower, confused deliberations, thus thriving on the tension and greatly enhancing the comedy.

Chris Binns shone in the role of Doctor Chapman with just the right touch of bemusement, and I loved his softly demure character as the man who had no idea what was going on and the way he interjected at the wrong moment and was constantly told “to sit down” was so well done. Sitting down immediately was not always easy with a body stretched out on the sofa behind, so he perched reluctantly on the arm or even with his back to the audience on the back of the sofa. With perfect timing and physical characterisation this added to the comedy. An extremely clever, calm and well managed portrayal which contrasted well with the louder characters fighting with all their might to survive.

Joan Kay as Linda Swan was splendidly irate and spent most of the play in a confused state. Her facial expressions left us in no doubt as to how she felt about her husband’s nefarious activities, A nicely balanced performance hovering between anger, fear, distress, total disbelief and eventually hysteria.

Chantelle Brooks put in an admirable performance with just the right edge of can do with no arguments we are there for you attitude. She was suitably annoying in the role of a super-efficient council worker.

Julie Birmingham gave a commendable performance as the innocent fiancée excitedly looking forward to her wedding.

Leo Mercer as Mr. Forbright the sober undertaker, attempted in vain to bring some order to the madness. He looked the part and had a good character stance, and with his clear diction but well-timed soft delivery he achieved a nice contrast with the louder crazy characters surrounding him as the mayhem escalated.

Janine Head captured the no nonsense attitude and revelled in being the ominous Ms Cowper, but she also brought out a slightly playful side to her character.

This was a well-planned, skilfully directed, tightly rehearsed, well costumed and brightly paced production which set out to entertain, and it certainly did. The dedication of everyone in the society, the cast, backstage team, in front of house team shone through, but special mention to the production team led by Chris Binns, with Sue Bennett Nicki Hood, Clare Burnside and everyone in the company who had obviously worked so hard on this challenging play. Everyone loved every nuance, twist and turn, clever wordplay, and trying to keep up with who was who and where they all were and why. This play caused great hilarity, and the teamwork and trust of the cast was truly admirable, STARS obviously have a forte for comedy and delivered a first-rate farce.

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