Dangerous Corner

This play was J.B.Priestley’s first play, premiered in London in 1932 and it was made into a film in 1934.  Priestley was often interested in writing about differing periods of time within each play and this was no exception. Quietly subverting the conventions of the drawing room drama of the 1930s, Priestley stirs in crime, secrets, lies, mystery, passion, scandal and a gay relationship (daring for a play written in 1932 and which was exorcised from the script when it was filmed in Hollywood) before pulling the drawing room rug from under the feet of the audience in the clever final act. The play is fairly static and extremely wordy.

Set in the home of the Caplans’ the play opens as the ladies are listening to the end of a radio play (the title of which - ‘Let Sleeping Dogs Lie’ - is worth remembering for what comes later!) and waiting for the men to join them after dinner.  So the scene is set for the investigation of whodunnit, whodunwhat, when and to whom as the evening’s drama unfolds.  

Larissa Simpson was every inch the 1930s lady of the house Freda Caplan, definitely one of the smarter set; Fay Childs just right as ‘bright young thing’ Betty; Jody Deacon was exactly right as the mysterious Olwen.  All three were the epitome of 1930s society ladies. The “outsider” in this select group is Miss Mockeridge played by Suzy Worzencraft looking the picture of a 1930s lady novelist. It doesn’t take long for the gentlemen to arrive on the scene and were also well represented with a trio of fine performances: Charles Stanton was given the right amount of sardonic charm as played by Colin Horne; and inebriated and excitable Gordon was played by Tom Bonser and in an accomplished performance,  Martin Hunt played the upright and determined Robert Caplan ever pushing for the truth. All were well cast and worked together skilfully to create an excellent ensemble and should be congratulated on the fluency and smooth delivery of the dialogue.  

The set, furniture and props were first-rate as were the ladies’ evening gowns.  My only comment there would be that Freda and Olwen did blend in rather when sitting or standing in the window recess as both wore dresses of a similar shade to that of the velvet curtains.  Sound effects were good but I must say that from a technical point of view, I wasn’t terribly convinced with the off stage glass smashing.  Compliments to Stage Manager Marc Mari and his ASMs who carried out an almost imperceptibly swift final scene change, as the play reverted to the opening scene.

St John’s Players do this genre well and under David Battom’s direction this was no exception. He created some lovely stage pictures and gave us an entertaining and well mounted production of a worthwhile and interesting drama.

© NODA CIO. All rights reserved.