Funny Turns

As the curtains open onto an exquisitely dressed set, you are instantly transported to a breakfast parlour of a bygone era. Pictures are hung on walls, there are flowers outside the window in the garden, the walls have appropriate wallpaper and there is a broken cuckoo clock on the wall which becomes a plot point later in the show. Every attention to detail has been considered, from the teacups to the knitted tea-cosy on the teapot, to the cushions, the bureau and all the pieces of furniture in the room. A piano also features, which is played by two different actors during the show. Congratulations should go to both the Set Design and Build Team led by Dave Smith, and the Set Dressing and Props Team of Susie Shenston and Vanessa Tindall.

We are immediately introduced to the landlady of the establishment and her daughter, who are the key characters around which the others pivot. This is 1935, and this is a lodging house for people in show business. Norman Tate is a comedian, whose work has dried up slightly of late. Tim Swinton gives a confident and well-rounded performance in this role, giving the character highs and unexpectedly well timed lows. He makes Norman a fully believable person with swagger when needed and hidden vulnerability and disappointment at other times. His performance at the end and the juxtaposition of his painted face was really excellent. Jane Haines and Zarrina Danaeva make a sweet and at times naïve landlady mother and daughter combination: they are a joy to watch work as well.

Karen Blunden has wonderful stage presence as Nellie Price, channelling a little of the character of Dorian from “Birds of a Feather” which works really well. Her flirtatiousness is hilarious and she seems to warm the scene when she’s in it. Tony Westwood as Victor Llewellyn has a really decent Welsh accent which is not easy to get right. Steve Law plays the ‘proper actor’ Laurence Mason wonderfully: it was a shame he was not in the play more, he has great presence and fully rounded character portrayal and lovely voice to listen to. The moment of recognition between him and the landlady was so loaded it was almost palpable: beautifully done by both actors, and all the others on stage reacting to it.

Costumes are one of Henfield’s strong points: Norman Tate’s cardigans and lived in look was almost reminiscent of Steptoe and helped identify his character immediately. Martha Merson’s dress was beautiful: sparkling with sequins and class as she tottered around remembering her career from 20 years before. Her always appearing in the same outfit was absolutely spot on, living in the past, while she had lost everything and only that one dress remained.

However, there are issues with the script. The play is set in 1935 and feels like it was written in the 1970s even though it was written in 2018. There are elements of comedy and elements of farce, there are some poignant moments but some plot points start and then don’t seem to go anywhere. The jokes seem to be from sitcoms in the 1970s. One character keeps giving jewellery to everyone else and it’s never explained as to why, despite it being significant in the play. The comedian who is desperate to get back on the stage suddenly at the end of decades of a career suddenly realises he doesn’t want to do that and he’s never been any good at all: that story arc doesn’t track. The lodger characters are all stereotypes and archetypes and while they exist in reality, when you fill the stage with them, despite the best efforts of the cast to make the characters rounded and full, it’s very difficult. The characters change their motivations and minds: and the actors following the script do a really good job of conveying this but it feels forced in places which is not the fault of the actors. The biggest issue is one character who has no redeemable qualities whatsoever: smarmy to the landlady, fully leading the daughter on despite having no intentions of anything except eating her cake, and being conniving and manipulative in his career, stabbing others in the back. He is also the only gay character in the piece. If it had been written in the 1970s you could caveat it with containing outdated and potentially offensive material; however, as it’s written in 2018 there is really no excuse, and it is an uncomfortable watch for some people. None of any of this is the fault of the cast who do a sterling job with the material that is given to them, and this will appeal to an older theatre going audience who love a comedy, but there are far better scripts out there.

Henfield have some lovely actors and everyone is always so welcoming of the audience. They create a lovely atmosphere for people to watch a show, and they always strive for quality. The audience were laughing and appreciative and the actors on stage were really enjoying performing which is always a joy to see. If you don’t think too much about the actual script, it’s a top evening’s entertainment. Congratulations to the whole team.

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