Drinking Habits

When I first received an invitation to Ponteland Repertory Society’s 2026 production of Drinking Habits, I was intrigued, having never encountered either the play or its author before and unsure of what lay in store. A farce written by Tom Smith, Drinking Habits is a comedy where accusations, mistaken identities, and romances run wild. The plot follows two nuns at the Sisters of Perpetual Sewing who have been secretly making wine to keep the convent’s doors open, while Paul and Sally, reporters and former fiancés, Paul and Sally go undercover in the convent on the trail of their next big news headline. Their arrival—alongside the addition of a new nun—creates paranoia throughout the convent that spies from Rome have been sent to shut them down. Wine and secrets are inevitably spilled as everyone tries to preserve the convent and reconnect with lost loves.

The production had moments of charm and showed genuine effort from the cast and crew. The set design, while understated, was executed with careful consideration and creativity. Elements such as the stained-glass windows above the doors and the magic trunk added a touch of sophistication and elevated the set, enhancing its visual appeal and overall, it worked well for the space and the cast size.

Peter Errington’s portrayal of George stood out for his convincing accent, providing some much-needed authenticity. While Jake Langley’s performance as Paul was understandably nervous, I commend him for taking on a lead role and hope he grows in confidence in future productions. Of all the cast, Sarah May, Claire Long, and Suzie Neve’s performances stood out for their enthusiasm and dedication, bringing a welcome spark to the production. Suzie’s distinctive ‘evil’ voice was a particular highlight, injecting much-needed humour into the performance. Their contributions were notable and helped to lift the overall show.

That said, there were a few aspects where further enhancement could be beneficial.

One constructive observation is that farces and comedies are notoriously challenging to stage, as they demand a careful balance of timing, energy, and teamwork to keep the humour sharp and the audience engaged. While the opening act felt slow, it was encouraging to see that the production found its footing as the story progressed, with the pace and audience interest noticeably improving towards the end of the first act. This suggests that with further rehearsal and focus on pacing, the company could unlock the full comic potential of the play from the outset, ensuring laughter and engagement throughout. Building on these positive shifts and refining the timing could help future performances start strong and maintain momentum, elevating the overall experience for audiences.

While the production aimed for a range of accents—including American and Scottish—the execution was inconsistent and, at times, distracting. Some accents were so unclear that it was occasionally difficult to understand what was being said, which made it harder for the audience to engage fully with the characters. A more considered approach to accent choices, prioritising clarity and authenticity, would have helped the audience connect more easily and enjoy the story without unnecessary confusion. Nevertheless, it’s clear that the cast put in genuine effort, and with further refinement in this area, future performances could be even more accessible and enjoyable.

Paying close attention to detail in productions and striving for authenticity significantly enhances the professionalism and credibility of the storytelling, allowing audiences to fully immerse themselves in the experience. The presence of nuns with hair ties on their wrists and painted long fingernails, as well as the use of plastic cups and Tunnocks teacakes during the party scene, detracted from the overall believability. Similarly, wine bottles with tape used as grape juice bottles also impacted authenticity. With a few simple adjustments to these props and costume details, the production could have achieved a higher level of professionalism and immersion for the audience.

Overall, Ponteland Repertory Society’s ‘Drinking Habits’ was a valiant effort, with some enjoyable performances and creative touches. With a little more attention to pacing and detail, future productions could truly shine. Thank you to the society for a pleasant evening and for bringing Tom Smith’s truly farcical comedy to the stage.

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