Forget Me Knot

I was very pleased to attend The Hall Players’ latest offering on Friday 31st January, Forget Me Knot by David Tristram.

David Tristram’s Forget Me Knot is a cleverly crafted comedy-thriller that blends intrigue, confusion and a good dose of farce. It opens with a man suffering from apparent amnesia, found wandering the streets with no memory of who he is or how he got there. When Inspector Monroe is called in to investigate, what should be a straightforward case quickly turns into a tangled web of half-truths, wild theories and increasingly bizarre revelations.

As the inspector attempts to piece together the man’s identity, the story twists and turns through a sequence of unexpected encounters, unlikely connections and a steadily mounting sense that nothing — and no one — is quite what they seem. Every apparent breakthrough only deepens the mystery, keeping both characters and audience guessing right up to the final moments.

With its sharp dialogue, pacey structure and playful blend of suspense and humour, Forget Me Knot manages to keep one foot in the world of detective drama and the other firmly planted in the realm of comic theatre, delivering an evening that is as entertaining as it is unpredictable.

Directing duties were undertaken by Maureen Nickson, whose work I’ve both seen and admired previously. Once again, it was immediately apparent that this is a director who knows how to work with actors and bring the best out of them. Her concept was effective and engaging throughout, delivering a truly entertaining experience for the audience.

The actors on stage were spoiled by the wonderful set they were given to ply their trade in. It managed to be stylised yet naturalistic, and the stage itself was segmented into distinct spaces to avoid any lengthy set changes. It worked a charm! Congratulations to the set-building team — Paul Armitt, Howard Casson, Bob Cuthbertson, Les Green, Ian Kennedy, Chris Kerry, Roy Lunio, Clive Nixon, Carol Pettinger and Dominic Swarbrick — all of whom must have toiled to bring this excellent design to life. Their work was ably complemented by Janet Casson on props, who only added to the authenticity of the world created on stage. Further to this, sound and lighting by Anthony Leadbetter, Les Green, Pete Dewdney and Ian Buckley were spot-on throughout the show and created a real sense of atmosphere on the night.

Forget Me Knot is a play for four actors and, on this occasion, I’d suggest that all four were pretty perfect pieces of casting. The director had a vision for these characters and absolutely selected the right actors to bring them to life.

Nigel Parsons was tasked with playing Detective Inspector Monroe, and I felt he gave an excellent account of himself. Monroe is a wry, slightly world-weary policeman whose dry humour and dogged persistence serve as a steadying force amid the escalating absurdity. As the mystery deepens, Monroe becomes the audience’s anchor, reacting with equal parts patience, exasperation and sardonic wit to each fresh twist in the case. It was clear from the earliest scenes that Parsons knew exactly how to play this character, and watching his growing exasperation as the absurd plot developed was a joy. He did drop a few lines in some scenes but got back on track with minimal fuss.

The character of the amnesiac, Robert Zeinfeld, was played with near-total confusion and expert comic timing by Clive Nixon. Found wandering the streets with no memory of who he is or how he got there, Robert is the mystery at the heart of the play. At turns confused, evasive and unexpectedly sharp, he keeps everyone — including himself — guessing as fragments of his past emerge. Nixon was excellent in this role and it was obvious just how much fun he was having playing Zeinfeld.

Emma Zeinfeld, Robert’s wife, was played by Carol Buckley, who delivered a masterclass of sharp wit and withering looks. The character’s sudden appearance raises as many questions as it answers. Intelligent, composed and occasionally brittle, she seems to know more than she’s willing to share, and her cool exterior masks flashes of tension and uncertainty. Buckley was a breath of fresh air every time she joined a scene and added a great deal of value to the play. Excellent work.

DI Monroe’s wife, Samantha, was played by Jill Thompson, who was just brilliant. First appearing as a lively, talkative and faintly chaotic figure, Samantha later reveals herself to be Dr Farquhar, the genial but unorthodox doctor tasked with assessing Robert’s memory loss. The dual identity adds an extra twist to proceedings, reframing earlier exchanges in a new and often hilarious light. Sharp, assertive, bold, funny — this was an excellent portrayal of a great character.

All in all, this was a cast with an innate understanding of how to bring these characters to life and juggle the complexities of the narrative with ease. There were no weak links, and each actor elevated the work of those around them, which was just lovely to see.

A huge thank you to The Hall Players for the invitation and the hospitality. Wishing you the very best of luck with your future projects.

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