Fings Ain't Wot They Used T'Be

A very welcoming new venue for PWOS with easy parking and a place of excellence which focuses on theatre and performance. Very pleasant and welcoming foyer staff and an informative chat with Susan Mann, the Director. The programmes offered attractive covers and it is always good to see the NODA logo featured.

First staged in 1959, this play by Frank Norman with music by Lionel Bart is a cockney comedy set in the fifties and centres on the lives of disreputable characters of the East End.

The set was in-keeping with the era and the costumes were delightful, offering a colourful ‘feast’ for the eyes. Some of the audience seating, however, was very uncomfortable as there were sections where they were very high and without foot rests. The enthusiasm of the company in their opening scene was uplifting and permeated the stage.There is however a fine line between enthusiasm and over doing it, which can lead to dominating other performers. Christine Mabbott (Policewoman/ Club Goer) could be clearly heard and when It came to the club goers’ scenes, she was natural and offered a convincing approach with pejorative expressions and then ‘swanning’ off to the bathroom in a way which befitted her type. John Coleman (Police Constable/Jack Pint/Father Carbone) highlighted the fact that the whole stage needs to be ‘worked’ when performing in-the-round and he was able to address all the audience, irrespective of where they were seated.

Elizabeth O’Donnell (Lily Smith) gave a consistent, convincing and enjoyable performance, evoking empathy at times.  Elizabeth was one of the few actors who could be clearly heard throughout. Roger Fane (Paddy) appeared comfortable in his role, adopting a good ‘ol’ irish accent which hardly faltered.  He was inaudible at times however.  Gary Glaysher (Frederick Cochran) epitomized the no-good small-time gangster with his scarred face (excellent make-up here) and mobster demeaner. He maintained this character throughout and as such, was enjoyable to watch.

Julie Beveridge (Betty) and Hannah Boyd (Rosie) brought a colourful floosie element to what seemed to be a weak story-line, while Neil Stevens (Tosher) really was into the spiv part.  The braces and brylcream helped to give a really convincing and lively performance.  Robin O’Donnell (Redhot) portrayed a small-time crook who seemed to have some psychological problems and his portrayal offered a pleasing contrast to the other characters.  Again, inaudible a lot of the time especially when his back was to those seated on the side. The Teddy boys were fun with Steve Nylan (Horace Seaton/Teddy Boy) giving a mesmerising comic performance as the ‘interior designer’ and this is where exaggerated manner was intentional and entertaining.  Solid performances from Giles Cordwell (Builder/Ric) but would have expected more reactions from the Gamblers in response to Frederick’s dialogue.  Helen Algeo (Myrtle) added some more fun but less can be more as over-enthusiasm can be distracting. Congratulations go to John Hargreaves and Colin Martin for musical direction and lighting, both of which felt in harmony with this type of play.

Susan Mann did a sterling job as Director under difficult circumstances. Playing in-the-round is very challenging especially when the actors are used to the more common proscenium format.  The set was not positioned directly in the centre and formed a partial arena. However, unless you sat face on to the actors, much of the dialogue was lost, especially when there is a lot of slang, cockney dialect and other phrases in the show. 

It was a shame that Gail Arnott’s expertise as choreographer could not be fully appreciated on this style of stage.  It was clear that everyone had worked extremely hard at creating their characters and producing the play, but a proscenium style would certainly have served PWOS better, allowing their particular style of professionalism to be well showcased.

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