Come on, Jeeves

A warm welcome awaited me from the front‑of‑house team — Sophie Read, Victoria Dexter, Sharne Gimbert, Jane Cohen, Pippa Lord, Carla Hibbitt, Nicki McKay, Sarah Clark and Mark Brown. This was clearly a well‑organised and confident team, efficiently selling raffle tickets and programmes while greeting the audience with genuine charm.

There was a slight delay to the start of the performance due to illness within the cast. However, once the curtain rose, the company launched into the play with admirable energy and commitment. Any backstage challenges were handled with professionalism, and the cast should be commended for delivering such lively performances under less‑than‑ideal circumstances.

It would be remiss of me not to mention the behaviour of some audience members during the performance. There was persistent talking across the auditorium, four separate mobile phone interruptions, and even someone taking photographs during Act Three. This was deeply disrespectful to the cast and distracting for those who wished to enjoy the show. The company deserved far better from their audience.

Jeeves – Bob Bayman  - A lovely costume and a calm, assured presence. Bob moved with purpose around the stage, giving Jeeves the quiet authority and understated wit, the role requires.

Bill, Earl of Towcester – Alex Crisp  - Good energy and thoughtful acting choices. Although Alex lost his lines several times, he maintained character well and kept the momentum of the scene moving.

Jill Wyvern – Rebecca Angel  - Rebecca brought a youthful sincerity to Jill. Her diction was clear, her dialogue effective, and her costumes complemented her performance beautifully.

Lord Rory Carmoyle – Leigh Matsell - A delightfully energetic performance. Leigh captured the upper‑class eccentricity of the role, using props well and delivering a well‑judged, lively characterisation.

Lady Monica Carmoyle – Joanna Freeman - Elegant, poised, and wonderfully haughty. Joanna’s mannerisms and costume were perfectly suited to the role, creating a calm but commanding presence.

Captain Bigger – Hugh Butterworth - A larger‑than‑life character without slipping into caricature. Hugh balanced the sinister undertones with the hapless romantic energy very effectively, supported by strong diction.

Mrs Spottsworth – Gill Davis  - A huge presence on stage. Gill maintained an excellent accent throughout and her costumes and mannerisms brought the character vividly to life.

Chief Constable Blagden – Tony Hine - Clever stagecraft and sharp comic timing made this a memorable performance.

Ellen, the Maid – Ebony North  - A delightful portrayal, light and engaging.

Radio Commentator – Gary Monro  - A neat vocal cameo that added atmosphere.

Directors – Victoria Dexter & Sharne Gimbert  - The direction showed clever use of the stage, with plenty of movement and energy that suited the farcical nature of the play. The pacing overall was strong, and the cast were clearly well‑guided. Along with Producer – Mark Brown you brought the story to life utilised skill and dedication.

Stage Management – Gus Sparrow; Crew – Daniele Petruzzo  - A long pause during the scene and costume change did cause the audience to drift slightly. A tighter turnaround here would have helped maintain momentum. But apart from the you kept the pace going well.

Lighting & Sound – Hugh Butterworth, Victoria Dexter & Sean Watterson  - Well‑managed and effective, enhancing the period feel and supporting the comedy.

Hair & Makeup – Brion Sparrow  - Evocative of the era and neatly executed.  Costumes – Rosemary Gibson & Heather Butterworth  - The ladies’ costumes were particularly strong, beautifully evoking the period. –

Props – Sophie Read, Pippa & David Lord, Sarah Clark, Gary Marsh & Carla - Some clever choices overall, with most items fitting the era well. A small point regarding the drinks: brandy, sherry and whisky were all served into tumblers. While whisky in a tumbler is perfectly appropriate, sherry and brandy would traditionally be served in stemmed glasses — a small detail, but one that does affect the period feel. I feel Jeeves in particular would have liked to get that right.  Given how strong the rest of the props and costumes were, this stood out more than it otherwise might. A minor detail, but noticeable.  The cigarette moments lacked realism — the lighting and handling didn’t quite convince. While smoking on stage is understandably restricted, it’s worth either perfecting the illusion or omitting it entirely. 

The star of the show was, without doubt, the set. Tom McKay and his team created a superb old‑worldly abbey interior — so atmospheric I could almost smell the damp. The distressed, moisture‑stained wallpaper was an inspired touch, and the three practical doors added both realism and excellent opportunities for movement. The radio, and set pieces enhanced the era well.  The outside aspect, along with the corridor and library glimpsed beyond, gave a convincing illusion of a once‑grand house now sinking gently into mouldy, crumbling ruin. It was imaginative, detailed work and elevated the entire production.

Publicity and marketing by Helen Pack, Jane Cohen, Victoria Dexter and Nicki McKay were well timed, with charming photographs used effectively.  The programme — created by Helen Pack, Victoria Dexter, Jane Cohen and Hugh Butterworth — was excellent. It included: clear explanations of period language that might otherwise confuse modern audiences, strong cast biographies with clever photography, a quiz, information about the playwright, and NODA essentials.  It is clear the society enjoys strong local business support. I am very happy to include both your programme and poster in the 2026 NODA competition.

Grantham Dramatic Society delivered a lively, charming production of Come On, Jeeves, full of energy, character and attention to detail. The cast worked well together, the direction was thoughtful, and the overall experience was warm and enjoyable. With a little tightening of scene changes and a few refinements to props and stage business, this already strong production would be even sharper.  A lovely afternoon at the Guildhall Arts Centre, and a pleasure to spend time with your dedicated and welcoming company.

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