Flare Path

Described as a romantic play and written in 1941 by Terence Rattigan, who was then a tail gunner for the RAF Coastal Command, Flare Path is the story of love lost and love regained during the commencement of WWII.

We hear the voice of a BBC continuity announcer warning us of the “threat of invasion or bombs” and advising us of the closest air-raid shelter and to “switch off all portable devices” with a perfect ‘plum-in-the-mouth’ accent. Good touch.

The curtains open to the sound of an air-raid siren and the audience are immediately transported back to the beginning of WWII with the cleverly constructed set which shows the lounge of The Falcon Hotel.

The well-built set consisted of four entrances and exits which allowed the business of the play to flow easily. The addition of a reception desk was useful and an interesting prop for the proprietor, Mrs Oakes, to navigate. The large window which showed the wartime art of bomb-proofing by taping the glass was an inventive touch and the use of the black-out curtain brought authenticity. The set was dressed with a time worn chair and sofa, coffee table, a classic 1940s stand-alone radio, fireplace and stairs to the rest of the hotel. Well thought out indeed and to think this set was designed and built by the company is quite remarkable.

We see Doris, Countess Skricevinsky, sat on the sofa with beautifully coiffed 1940’s hair and wearing a delightful tea dress, interacting with Mrs Oakes, the hotel proprietor and looking ever the lady countess but with a touch of simplicity such as “hello ducks” and “come on dear, let’s have it”.  She held the audience’s attention with her voice and presence. Very well acted, especially when she nervously meets Peter Kyle, the famous film star and in Act 2, when she is told by Squadron Leader Swanson, with real empathy, the news of her darling Johnny (Count Skricevinskly) being lost in a raid.  The Count, being of polish heritage was well played, with a good accent. His interaction with other cast members teaching him how to pronounce “english” was very funny.

We see Mrs Oakes, constantly on the move, running a busy hotel and dealing with numerous props producing a very believable performance. This no-nonsense characterisation, with a strong northern accent, gave depth to the part. A very natural performance.

Peter Kyle, who has come to the hotel to persuade Pat to leave Teddy, is dressed in a double-breasted 1940’s style suit with shirt and tie, and with a moustache to boot. He looks the epitome of a film star who is a touch despondent.  His various interactions with Patricia (Pat), the married woman he adores are well managed and the actor deals with his character’s changes in fortune and misfortune admirably such as “I do happen to need you, Pat”. You can certainly feel his sense of expectation and subsequent disappointment. His nemesis, Teddy Graham, is the epitome of a dashing RAF Flight Lieutenant who not only sounded the part but very much looked the part.  This actor spoke his lines with a perfectly rounded English accent and was likeable immediately.  The character he played was relatable and gained empathy from the audience.

Teddy’s wife Patricia (Pat) is torn between her husband who she feels she has married in haste and Peter, who she had a previous affair with before meeting Teddy. Dressed in a lovely brown and cream tea dress and with perfectly styled Victory Rolls in her hair, this actor needed to play the part with sensitivity throughout and she did just that. Her empathy with Teddy losing his nerve to fly in Act 2 was judged beautifully.

With a number of entrances and exits and interactions with Fred, offstage, we meet Percy, a nosy barman who loves nothing but talking about the RAF. This young actor delivered his lines with good comic timing and who, again, busy with props, was lovely to watch.

Sgt ‘Dusty’ Miller enters the hotel lounge in anticipation of his wife arriving on the bus. A genuine performance throughout especially with his delightful spouse, Maud Miller.   Maud was gorgeously acted, with a strong cockney accent she had some of the best comical lines in the play and timed them perfectly, making the audience roar.  There is also a brief cameo role for Corporal Wiggy Jones.

Squadron Leader “Gloria” Swanson had genuine concern for his men and for their ladies too. The scene with Doris where he gives her bad news regarding her husband being missing in action was believable and gently portrayed.

This production was well directed by Jenny Nash. Not one member of the cast faltered with their lines. Entrances and exits were slick and the play ran smoothly. The characters developed well throughout the performance and the audience were captivated.

The costumes were well thought out by Lynda Anning and obviously well researched. The RAF uniforms looked impressive, but perhaps some trousers needed an extra press. Lovely tea dresses accompanied with the correct jewellery, watches and ‘Mary Jane’ character shoes. I have to give particular mention to the hair styling which was excellent with normal rolls, Victory rolls and pinned up beautifully. I was made aware that Lynda Anning, the wardrobe mistress,  had been taken ill the evening I attended and Helen Nash had stepped in to coiffeur the female cast members. A huge well done to Helen for coping and special praise to Lynda for dressing everyone perfectly.

Theatre cannot succeed without good lighting and sound. There were very clever touches with a single central light being used during the blackouts when the curtains were open for the cast to view the flare path and the coal fire slowly coming to life. Overall, the lighting throughout was excellent. The sound was impressive, especially the radio announcer, the use of the radio, the sound of aircraft faltering and the fact that all members of the cast could be heard clearly throughout the entire performance.

Well done indeed to Exeter Drama Company for a beautifully performed and moving portrayal of war-time love.

Lyn Burgoyne

Noda (Mid and East Devon)

© NODA CIO. All rights reserved.