Entertaining Angels

I was delighted to be invited to Wombourne Players’ latest production, a play I knew so well, the ‘very English,’ warm and thoughtful comedy,’ Entertaining Angels,’ and after a lovely welcome from the front of house team, I took to my seat noting the excited anticipation on this first night of performances.

Written by Richard Everett and directed by Sarah Aldridge, this play once again highlighted the dedication which the Players give to each play, they present including the terrifically supportive backstage group. It isn’t the easiest of sets to translate to the stage, but this set, designed by Sarah, was impressive, and featured a greenhouse, a patio with table and chairs, the back of the house, and a stream with running water surrounded by long grass. Subtle lighting changes and sound added to the authenticity of the vicarage garden, but also cleverly signified the change of Grace’s memory to the present day which immersed the audience.

The play centres on Grace (Lynda Dunn) who is struggling to adapt to life after the death of her Reverend husband Bardolph (Graeme Lockey), even though now having passed onto heavenly pastures new, insists on hanging round the potting shed in his ghostly form dispensing advice from beyond the grave. Widowed Grace has an older sister Ruth (Sarah Aldridge) who has returned after 30 years of Missionary work in Africa. Then there is daughter Jo (Karen Evans) a Psychotherapist, and finally they are joined by new vicar, Sarah (Sue Flavell) who is all set to take over the parish. The demise of Bardy means Grace will have to leave the vicarage, an event she keeps changing her mind about, much to the frustration of her daughter, Jo and sister, Ruth. Grace’s difficult mood is further worsened by discovering the Vicar who is to replace Bardy and ’evict’ her, is a woman, the kind-hearted Sarah. Scandal and secrets flood through this play. A bonding moment by the stream sees Sarah reveal that she had an affair with a young French polisher, much to Jo’s amazement. Sarah then reveals she doesn’t think she is cut out to be a Vicar but rather than explain she disappears from the house swiftly, leaving Jo baffled. However, the ultimate ‘bombshell moment,’ comes at the end of Act 1 when Ruth reveals that 30 years ago, she had a dalliance which resulted in her being the mother of a 30-year-old son called Jeremy. The father of Jeremy being Bardy, her sister’s husband. Act 2 opens with the sisters refusing to stay in the same room to discuss this issue. Whilst this is emotionally unbearable for Jo, she is determined to get them to talk, despite the angry outbursts and stubbornness from both sisters. In another emotional reveal, Grace confesses she lost another child. While Ruth tries to console her sister, the anger Grace feels is because Ruth not only kept this secret from her for 30 years, but she also knew about the child Grace lost. This emotional reveal from Grace prompts a further declaration, that she was there when her husband died and in her mind was the one who drowned him. A heartfelt and sorrowful speech from Grace brings her true feelings about her husband to light and the fact that she was not responsible for his death. As the sisters reconcile, this leads to a heartfelt moment in the play. The final moment of closure is set in a scene a year later, when Sarah has taken her role as the vicar and is heavily pregnant. Grace asks if she can sit in the garden one more time and it is here where she says her goodbye to Bardy, only to be interrupted by Ruth, who reveals they are on the way to meet Jeremy at the airport.

Sarah’s staging of this play was insightful, scenes were well balanced with humour yet successfully engaged the audience in family dynamics where secrets were unearthed and hidden tensions revealed, as the four ladies navigated their intertwined lives.  The play explored themes of faith, forgiveness, and family bonds. Sarah had appointed a superb cast who were well-rehearsed and able to deliver, confidently, strong characterisations with clear diction in all dialogue. The roles interacted so naturally with each other at times, it didn’t always feel scripted. Lynda Dunn portrayed Grace with a mix of vulnerability, a natural authority and simmering resentment. Whether delivering biting sarcasm or unravelling emotional truths, Lynda’s presence on stage was magnetic. She was on stage so much of the time, the dialogue often lengthy and challenging. Sue Flavell is to be congratulated for her part of Sarah, the new vicar. She adopted this role, (her first) appropriately open, and as a strong-willed woman, word perfect too! Sarah Aldridge, a very experienced stage performer, played the part of Ruth beautifully and lent real pathos to this role, showing at times guilt and embarrassment as appropriate to the scene, quiet desperation for forgiveness with soothing voice tones and some despondency in mannerisms in response to Grace’s sense of righteousness. ’Always afraid of your disapproval,’ she said. Graeme Lockey as Bardy, the late vicar who appears only to Grace’s imagination, was perfect for the role, so relaxed and at ease buried in his sermon notebook and Panama hat. His presence was suitably tranquil, an unflappable character. Karen Evans’ carried off the character of Jo so well, wonderfully pitched as the sensible one actively trying to bring peace to the waring sisters yet trying to cope with her own issues.

Sarah Aldridge did a first-class job on this play; great set; excellent acting with no noticeable flaws; fine direction with plenty of touching moments; a great evening’s entertainment. Congratulations to all the cast and crew. Thank you for inviting me.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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