Dick Barton - Special Agent

Sadly showing my age and bringing back childhood memories of early evenings (6.45-7.00 if memory serves me right) in the 50’s listening to the BBC ‘Light Programme’ I was very looking forward to this production. It did not disappoint!

That said the play, written by Phil Willmott, unlike the original itself was much more slanted towards the tongue-in-cheek and, much to my surprise contained quite a few songs. Not quite a full blown musical but certainly a play with a lot of excellent numbers all to the accompaniment of a lone piano in the expert hands of Kevin Stannard.

The plot, which of course was in the interest of humour bordered on the absurd, our hero Dick Barton and his sidekick Snowy for example played by the same actor, which of course leads to some wonderful scenes of mistaken identity. I’m not sure I fully followed the plot, or was even expected to, but it was centred around Britain’s entire tea supply being threatened with poisoning and our hero, the only man who can save the day is drawn into intrigue and mystery to face femme fatale Marta Heartburn and the evil Baron Scarheart.

The set, constructed by Kelvin Horton was mostly done with props to blacks but with a wonderful finale of the top of Big Ben complete with outside balcony for the final showdown between good and evil. There was also a BBC radio announcer’s studio, stage left in front of the tabs, which could possibly have been a little bit more elaborate. All very simple but in the main very effective. My main complaint being the use of a modern corded microphone to sing through, which looked horribly out of place when they had gone to the trouble of having a fake 1940’s one as a prop. A small point however.

We opened to a ‘spiffing’ plumb-in-the-mouth BBC 1940’s announcer played by Sarah Benjamin and our radio play began, with a radio exert of ‘Dick Barton’ in front of the tabs, script in hands, as per the real thing, As soon the tabs opened though it was scripts down and the action was up and running.

Matthew Dear positively revelled in his parts as both Dick Barton and Snowy, pitching the tongue-in-cheek delivery with excellent comic timing and just the right side of straight. Dick Barton the public-school hero and Snowy his cockney assistant deliberately only discernible by their accents. Very funny indeed. And that singing voice! How wonderful that was to listen to! I’d certainly like to hear more of that in any future musicals.

Samantha Golton as femme fatale Marta Heartburn also showed she can sing a note or two arriving on stage with some aplomb, in an unforgettable outfit, oozing sex appeal, mystery and intrigue.  She certainly mastered the art of delivering believable lies with humorous intent.

Penelope Barton was a revelation as the evil Baron Scarheart and a master stroke of casting! Played in an almost Dracula like manner she nailed this comic strip style character perfectly. I doubt if any man could have done it better! A perfect foil for Dear’s Barton.

Oliver Harvey as Jock took full advantage of the humour of the character, immaculately dressed in a kilt, talking in a Scottish drawl with (to my ear) traces of Irish. Intentionally or not it added a suburb running gag. Jane Horton as Daphne Fritters played Jock’s love interest in a wonderful ‘flapperesque’ style. A particular funny moment was three of them being tied up with only 2 chairs to sit on and not to forget a beautiful rendition of ‘A Nightingale Sang in Berkley Square.’

Alistair Kelly played Barton’s boss Colonel Gardener as full on ‘manic’ to great comic effect. At one point, I thought he was going to burst a blood vessel he was so wonderfully OTT!

Sallie Phillips as Lady Laxington and Ron Almond as Sir Stanley Fritters also played their cameo roles to the full, whilst Derek Moore, Geiorge Paltineanu and Karen Bartlet provided some of the best comic moments simply by their facial expressions in various poses as henchmen and dancers. A partially notable example being their wonderfully bored expressions as the nightclub dancers in the opening number.

Director Christopher Gill certainly had a talented group to work with especially in the singing department and obviously thoroughly enjoyed himself with this totally zany work. Overall it was a very entertaining evening and what limited audience there was enjoyed themselves immensely. Perhaps a little more work need in the publicity department as this group deserves and needs a bigger following.

Thank you AFDS for your kind hospitality and welcome to the NODA fold. You have a great future.

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