Dancing in Bluebells

Dancing in Bluebells
Written by Dianne Ffitch
Produced by: Red Spider Company
Performed at: Lewdown Victory Hall
Directed by: Dianne Ffitch
NODA Rep: Stephen Fudge
Seen on: Friday 21 st November 2025

This was my first visit to see The Red Spider Company, and I was genuinely looking forward
to meeting the team and experiencing their work. Lewdown Victory Hall is a lovely venue, set
in the surroundings that I imagine lend themselves beautifully to intimate and atmospheric
plays.
On arrival I received a warm welcome from Dianne, and the front of house team.
Dancing in Bluebells is a play written and directed by Dianne Ffitch, and I must first
congratulate anyone who takes on the ambitious challenge of creating original work for the
stage; it is no small undertaking and deserves acknowledgment in itself. The story follows
Kat in the early 2000s as she copes with the recent death of her mother and faces the
responsibility of taking on the family business due to financial pressures. Beneath the
surface, her father Charlie is concealing a secret that only begins to emerge when Kat meets
Harry. The narrative unfolds across two time periods – the early 2000s and the 1940s –
exploring how past choices can echo through generations.
The play has been nearly 20 years in the making and is inspired by the writer’s own family
stories, which is a deeply personal foundation for a production and shows clear passion and
emotional investment in the material.
While there is evident passion behind this piece and some creative ideas in the staging, I
must be honest in saying that I found it difficult to fully engage with the production as a
whole. Several elements combined to affect the pace, atmosphere and credibility of the
story, which meant the emotional impact of the narrative didn’t always land as strongly as it
could have.
The repeated looping of the opening number, ‘Anything goes’ – a song I personally enjoy –
began to disengage rather than establish mood, and I feel a broader range of tracks from the
musical could have supported the later reference without becoming repetitive.
The pace of Act One was also significantly slowed by long blackouts, and I was left unsure
why the action was not ready to move forward as soon as the lights returned, as this
interrupted the flow and energy of the play.
Moments designed to feel naturalistic occasionally worked against the believability of the
drama, such as mugs clearly containing no liquid and lines delivered at points where
characters should still be drinking. Additionally, the absence of scene-change music for
much of Act One contributed to a slightly uncomfortable stillness between scenes; when
music was introduced in Act Two, the rhythm of the transitions improved noticeably.
The casting of Elsie and Lucy as mother and daughter – without significant age
differentiation beyond a wig made their relationship challenging to believe, and this

unfortunately impacted the credibility of a storyline built so strongly around family
connections.
It was also clear on the night that the prompt was working hard to support the cast. However,
there were moments where the prompt calls were delivered too quietly, resulting in some
actors needing a second prompt and visibly searching for their next line. In these situations,
a firmer and clearer delivery from the prompt would allow the actors to pick up the cue
immediately and help maintain the flow and confidence of the performance.
On a more positive note, the creativity of the set was a strength. The use of the two-tier
staging offered a clear visual indicator of the dual time periods, and the sandbags were a
particularly evocative touch that rooted the audience firmly in the 1940s. The artistry of Angie
and Colin also deserves recognition, as the backdrop they created was superb and added
real depth and texture to the stage picture – and yes, I noticed the red spider hanging from
the light, which was a wonderful detail that tied beautifully into the company’s identity.

Technical effects
The general lighting balance throughout the performance was good and, for the most part,
effectively supported the action on stage without distracting from the storytelling. Visibility
was well maintained, and the overall atmosphere was appropriate to the differing settings
and moods of the play.
There was an unfortunate technical glitch on the night, which is always challenging in live
theatre. Credit must go to the cast for maintaining their composure and continuing
professionally despite this unexpected issue – a true mark of resilience and commitment
under pressure.
Sound effects were well chosen and fitted naturally into the storyline, helping to enhance key
moments without feeling intrusive. These were used effectively to support the dramatic flow
of the piece.
Props and costumes were generally of a good standard and suitable for the setting.
However, during Margie’s pregnancy, there was no visual effort made to reflect her
pregnancy, which was a notable omission and did affect the credibility of that part of the
storyline. Even a subtle costume adjustment could have helped reinforce this important
element of the character’s journey.

Kat
As the central character to the storyline, you carried much of the emotional weight of the
production, and this is a demanding role to sustain throughout. You held your character well,
with a clear sense of identity, and there was no doubt in seeing the inner East Ender
influence within your character. Overall, a strong performance, well done.

Harry
You created a strong and assured character on stage, and as an audience member I felt
immediately comfortable whenever you were present in a scene. Your stage presence was
particularly effective, giving the role a sense of stability and confidence that worked well

within the dynamics of the story. This was a solid, controlled performance that helped to
anchor many of the key moments.

Elsie
This was a challenging role to take on, and you clearly embraced the more demanding
aspects of Elsie’s character. Your stubborn mindset in relation to who you believed ‘Charlie’
to be was delivered with conviction and consistency, giving the character a strong sense of
purpose. There were moments, however, where the portrayal leaned slightly towards
caricature, and a little more restraint at those points would have helped maintain the realism
of the character.

Charlie/Alf
You certainly took on what dare I say could be considered the villain of the piece with
confidence. You kept the character’s past well hidden for much of the play and portrayed the
role of head of the family effectively, establishing authority and control within. When the big
secret was finally revealed, I did find your reaction a little unexpected, as the presence of a
smile in such a pivotal and difficult moment slightly undermined the impact of the revelation.
In these moments, you can really lean further into the weight and gravity of the situation to
heighten the dramatic effect.

Lucy
You maintained a steady and consistent character throughout the performance, which gave
the audience a reassuring presence on stage. You came across as genuinely caring and
very much “one of life’s nice people”. Which was well portrayed and believable. When the
family secret was finally revealed, you clearly relished the opportunity to step forward and
take on the running of the family business, and this shift in dynamic was handled with
confidence and clarity.

Peggy
You delivered an incredibly strong character throughout your time on stage, and your stage
presence was superb. It is very clear that you are worthy of your BTech in drama, as your
confidence, control and commitment to the role were evident in every scene you appeared
in. This was a very accomplished performance – very good job.

Alice
On the night I attended, I do not recall seeing Alice appear on stage as a distinct character,
and I wondered if this may have been a last-minute change or production decision? The only
reference I noted was Alice being played by the same performer as Young Elsie. If I have
missed something here, please do accept my apologies.

Margie
You brought a strong and assured presence to the stage in the 1940s timeline and were
clearly central to the development of the plot in the past. You maintained a good, consistent
character throughout your scenes, which helped anchor that period of the story effectively.
My only observation was the clearly visible smartwatch, which momentarily disrupted the

1940s setting, although it was good to see this had been removed for Act Two. Overall, this
was a solid and effective performance – good job.

Director
As both the writer and director of this play, you took on a significant and ambitious challenge,
and one that deserves recognition in itself. Bringing original work to the stage is never easy,
particularly when that work is rooted in history that spans multiple timelines. Your vision was
clear in concept, especially in the way the two eras were structured and presented, and
there was evident care taken in shaping the emotional journey of the story. At times,
however, greater attention to pacing, scene transitions, and character realism would have
strengthened the overall impact of the production and allowed the narrative to flow more
naturally and confidently.
While I have made many constructive observations throughout this report, it is also very
clear that the audience enjoyed the performance and are staunch supporters of the group –
a group that is clearly passionate about theatre and committed to bringing stories to life on
stage. My comments are offered entirely in the development and encouragement, and I
genuinely hope they serve as useful reflection points as you continue to grow. There is
evident dedication here, and long may that continue.

Stephen Fudge

PLEASE NOTE:
Any observation made by the reviewer can only be based on what he sees at the performance in
question. The reviewer may have received information in advance of the performance, and it is
inevitable that his assessment will be affected by that knowledge.
The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in
particular the performance viewed. It should be remembered that any review of this nature can only
be objective as far as the techniques used during the performance observed. Any criticisms
expressed may not have been valid at other performances, and are only made to encourage higher
standards in Amateur Theatre.
It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and
encouraged you to greater achievements in the future and that the observations made by the reviewer
will prove helpful in improving future productions.

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