Dad's Army

Despite the day’s warm weather and the heat, the auditorium was full and that is testament to the timeless appeal of the original TV series and the reputation of the performers. The audience was immediately transported back to the war years with the entire cast, and this was  the largest cast I have seen at this venue.  Period costume added to the authenticity and 1940’s music played in the background. The director, Sam Evans, had done everything possible to convince us all it was war time and this was the ‘real’ Dad’s Army with good old-fashioned fun. It certainly prompted me to feeling nostalgic, prompted by the tunes and the set, for my own father loved the series.

The plot in each of the three episodes was simple enough, involving the antics of the home guard of Walmington on Sea (part time soldiers); the first act was the well-paced and visual episode, ‘The Deadly Attachment,’ where four Nazi sailors were to be guarded overnight and the U Boat captain, played superbly by Ian Askew, turns tables. The memorable phrase,” Don’t tell him your name Pike,” is included here. The second act was entitled, ’Mum’s Army,’ which involved the female ensemble members and where Captain Mainwaring (Phil Lines), tried to recruit women for a secondary unit. He appeared smitten with Mrs Gray, played by Claire Parker who adopted her role with a cool lady-like air. Mainwaring, normally pompous, made a fool of himself it seemed, and the goodbye scene at the railway café was slightly reminiscent of Brief Encounter.

The third episode, which was after the interval, was, ‘The Godiva Affair,’ which included a squabble about who was going to play Lady Godiva in the spitfire fund procession. This act also included Mainwaring’s men practising Morris dancing in one scene, which was to be performed at the fete. This was extremely entertaining and slick, with excellent timing between the actors.  Sam Evans deserves high praise for injecting originality in his direction here ensuring some hilarity and polished performances, with central core actors executing their parts perfectly.

While every performer shone through this nostalgic play, with no dropped lines and perfect articulation; there really were some outstanding characterisations, including Phil Lines who effortlessly filled the boots of the bumptious Captain Mainwaring and had a solid stage presence. He was full of his own importance and Phil was very good indeed in his portrayal, gesturing with his arms and baton to emphasise a point and adopting a withering look in response to others though I have to admit lacked a brusque nature.  Alan Lowe did an amazing job as the diffident, charming, and subversive Sergeant Wilson, mimicking a lot of facial expressions and tentative expressions of John LeMesurier. His gentle politeness,” Would you be so kind….,” was endearing. Ian Argyle captured the eccentricity of Lance Corporal Jones superbly and injected lots of energy into his active role as a butcher and an experienced soldier, manfully resisting the urge not to panic, with a trace of Black country accent. Brilliant characterisation by Carl Horton of crazed Private Frazer, the undertaker, pessimistic and dour with a leery taste for the doomed. His facial expressions were so demonstrative with eyes rolling to “spook” others. His Scottish accent was perfect and consistent, a strong caricature. Harry Parker exuded the right pathos as the dim witted, compliant, henpecked, mummy’s boy, Pike, who seem to be attached to his scarf. Brian Lycett was the delightful, sweet, bemused Private Godfrey with a tendency for a weak bladder.

Other members of the cast too, deserve credit including Tom Kendrick as Private Walker, Ian Askew as the vicar and the U boat captain and the ARP Warden Hodges, Dale Roberts.

The set was simple but versatile and in keeping with the TV show whilst also able to comfortably accommodate a large cast and ensure ample space for movement and interaction. The set building team recreated impressively, a church hall on one side of the stage and an office on the other. Teashop tables and chairs were arranged swiftly into the acting spaces to allow flexibility. Attention to detail too was reflected by numerous authentic props in place, which included a telephone and replica guns. Lighting and sound were all perfect with scene changes enhanced by original 1940’s music. Special mention needs to be afforded to the costumes which were genuinely of the era, with costumes made of wool, which on a warm summer evening were not comfortable!

This play was a pure delight to watch. It was a polished, professional performance and so ideally cast. I can only wonder at the size of the cast, sourcing candidates for appropriate casting and the hours spent studying the mannerisms of the original actors but incorporating individual interpretations and rehearsing. Well, it has been managed beautifully. A triumph! Bums on seats too!

Congratulations to the cast and crew. Thank you for inviting me.

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