Fred, Ted, Jack and Harold

The Misfits Amateur Theatre Blackpool’s production of Fred, Ted, Jack & Harold, performed at House of Wings Studio, offered another clear example of a company with a strong sense of identity and purpose. It is always encouraging to see a group willing to explore different styles of theatre and create opportunities for performers who clearly enjoy being part of a creative company. It is important to acknowledge from the outset that Fred, Ted, Jack & Harold by Matt Fox is a challenging and unusual play: a dark comedy about serial killers with a very different approach to storytelling around murder. In the programme, the committee spoke about the company’s commitment to producing theatre that challenges both themselves and their audiences, and that willingness to step outside more traditional amateur theatre choices is admirable. Theatre should have space for different voices, unusual stories and material that encourages reflection, and this production certainly showed Misfits to be a company prepared to take on difficult work.

The performance I attended had a small audience. This is always difficult for a cast, especially in such an intimate space, and the company should be praised for continuing with focus and professionalism. The atmosphere was naturally affected by the low number of audience members, but the cast did not allow this to affect their performance. The venue itself was not the easiest to find, and this may have contributed to the attendance. Although the production had been promoted through social media and had also received coverage in a local newspaper, it was a shame that this did not translate into a larger audience. The company deserves to be seen by more people, and I hope future productions will continue to build local awareness and support. House of Wings Studio provided a flexible and intimate setting for the production. As a dance studio rather than a conventional theatre, it offered a different kind of performance environment and required the company to be resourceful. The space did not have the usual theatre facilities, but Misfits made practical use of what was available. The audience was seated along the widest side of the room, with the action taking place across different areas of the studio. This staging choice gave the play movement and variety, allowing different locations to be suggested clearly while making creative use of the whole space. The technical arrangements were simple. Lighting was operated by Jack Whitaker, with lights being switched on and off depending on where the action was taking place. In a venue without a conventional lighting rig, this was a practical solution and helped define the different playing areas. Future productions in similar spaces may benefit from simple portable lighting or lamps to create more atmosphere and smoother transitions, but the team clearly worked with the resources available to them.

The cast consisted of Andy Welsh as Fred, Ian Langley as Ted, Heath Crump as Jack, Andrew Dutton as Harold, Fern Crump as Liz, and Mickey Horrocks as Myra. Each performer approached the material with focus, and the production had a strong sense of ensemble. One of the strengths of the performance was vocal projection. In a venue without amplification, it was encouraging that the cast could be heard clearly for the majority of the production. This showed good awareness of the space and of the need to reach the audience. The company maintained concentration throughout, which is especially commendable given the small audience and the closeness of the performance area. Andy Welsh, Ian Langley, Heath Crump and Andrew Dutton worked together to create the central group of characters. The roles require confidence and a willingness to engage with difficult material, and the cast gave a sincere interpretation of the piece. Fern Crump brought a distinct character choice to the role through the use of a Hungarian accent. This showed thought and preparation. At times, particularly during monologues, the accent made some of the dialogue harder to follow, and a little more vocal clarity or a lighter touch with the accent may have helped the audience catch every word. However, the intention behind the characterisation was clear. Mickey Horrocks also contributed to the ensemble and helped support the storytelling. There was a clear sense that the cast had worked hard together and were presenting the piece as a company effort rather than as a collection of individual performances. The backstage team also deserves recognition. Ceri-Ann Corcoran and Shannon Jones worked backstage, while Carol Crump acted as prompt. Their work helped the evening run as smoothly as possible within a limited and unconventional space. In small companies, the support of those behind the scenes is vital, and their contribution should not be underestimated. Director Harry Chambers took on a demanding piece and worked to shape it within a venue that brought both opportunities and limitations. With such dark and sensitive material, the greatest challenge is finding the right balance between discomfort, humour and audience engagement. This is not easy, and the production showed Harry’s willingness to stretch the company and explore challenging theatrical territory.

The content of the play was undoubtedly difficult. At times, the closeness of the action and the adult nature of the material made the experience quite intense for the audience. This is partly the nature of the play itself, and partly the result of such an intimate performance space. For future productions involving dark or adult themes, the company may wish to consider how best to prepare and support audiences, perhaps through clear content guidance, careful seating choices, and a performance space that allows a little more distance between actors and viewers. One of the strongest aspects of The Misfits remains the purpose behind the company. As seen in previous productions, the group’s commitment to providing an inclusive and welcoming environment is a real strength. Misfits offers opportunities for people who may not always feel they fit easily elsewhere, and that is something valuable within the local theatre community. The choice of Fred, Ted, Jack & Harold may not have been the easiest fit for the company or the easiest production with which to attract a wide audience. However, it did reflect Misfits’ willingness to step outside safer amateur theatre choices. Going forward, the company may benefit from alternating challenging work with productions that offer broader audience appeal, allowing it to grow both artistically and in terms of attendance. This was a focused and sincere production from a company that clearly cares about theatre, inclusion and creative expression. While the play itself presented significant challenges, the company approached it with determination and a strong sense of teamwork. Thank you to everyone involved, both on stage and behind the scenes, and best wishes to The Misfits Amateur Theatre Blackpool as the society continues to develop its work, its confidence and its place within the local theatre community.

 

 

 

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