Entertaining Angels

Taking our seats, we admired the summer garden that had been lovingly designed by Brian Fagg and constructed by Peter Huxley. Clergyman Bardolph’s newly widowed Grace has been an upright wife probably having quote, ‘poured 200,000 cuppas, made 4,600 medium sized quiches and baked 2 tonnes of pastry crust’ and as she says ‘what for?’

Set in a delightful English garden this is a sharp-edged comedy. Free to do as she pleases, there are revelations on the sudden return of her missionary sister Ruth from Africa. In fact, the four ladies appearing all to have secrets, doubts, guilt, and forgiveness. It is both funny, extremely touching and quite thought provoking. Bitter and wondering what the future has in store Grace often talks to Bardy with her daughter Jo thinking she’s going potty. A demanding role, particularly following in the steps of Penelope Keith and very wordy, the audience empathised with her as she journeyed.  Willowy Angela Patrick played a strong controlling and finally forgiving Grace.

Gillian Davis brilliantly characterises Ruth, somewhat eccentric and what is she doing here? She cannot get herself to tell Grace taking her frustration out on lawn mowing.  May I say she handled the mower with aplomb! Everything is eventually told - that after her one-off fling with brother-in-law Bardy 40 years ago, she left to became a missionary, dealing with aids and the like giving birth to Jeremy, whilst Grace sadly miscarried a son around the same time.  Grieving for her father, exasperated with mother, daughter Jo, psychotherapist – good at advising others, on the verge of divorce, is beautifully played by Fiona Murch. She has to work hard to try and get her mother to move on and to get the two sisters in harmony.

An ordinary woman is measuring the property assuming she’s the incoming vicar’s wife.  How wrong – Sarah is to be the new vicar! Unsure of herself and revealing she had an abortion following an affair with a French polisher Hamish, she subsequently learns what real forgiveness means from her husband, takes up the post and finds herself expecting! Jane Barton was thoughtful, funny and believable, with final cast member Vernon Reeve capturing a man who struggled to do the right thing, an unghostly performance of Bardy, appearing through the potting shed and by the stream perfectly.

A colourful A5 programme with a ‘good feel’ again prepared by multi-tasking John Sewell also in charge of Light/Sound, was interesting, easily readable and informative. Excellent sound and lighting cues, particularly the lawn mower, gentle bird song plus running water spot on. Corner lighting of the stream area was also most effective as was a full moon against the plain blue backdrop. TODS attention to detail to the stage setting was notable. The shrubbery was live.  The fencing at the back with the hedging, beautiful potted plants, topiary, statue of Venus De Milo first class, and even a wheelbarrow added to the picture. French doors opened onto a patio and a perfectly manicured lawn. The potting shed shape was pleasing and retaining wall allowed a small exit/entrance. Front stage a cleverly grown tree trunk arose and with the little wooden bench and green water plants was the perfect area for Grace and Bardy’s conversations and his demise. Pleasing and numerous props throughout.

Michael obviously had an excellent team of actors to work with and together produced a first class play with laughter and then hearing a pin drop, thus capturing the audience. Copious lines to memorise, well put over with quick wit and timing.  Good use of space provided and interesting freezing of characters worked particularly well. Costuming was down to cast members, was up-to-date, comfortable and neat. The addition of jewellery and good sun hats gave the right summer feel. Sarah’s pregnancy worked well with her cassock and I particularly liked the beige/brown with addition of a waistcoat and the battered sun hat look for bearded Bardy - well-chosen footwear. Hair styling and makeup was natural throughout.

A most interesting and informative KDA adjudication from Paul Doust who involved not only players, the director but also the audience.

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