Ghosts at The Grange

A good old-fashioned chuckle of a comedy is the best way I can describe Karen Doling’s Ghosts at The Grange. Nothing complicated to work out, deep thinking not required, just sit back and enjoy the fun. Just what the doctor ordered for a Friday evening.

The story directed by Phil Bailey in his first directorial role for the Players centres around two ghosts, Lancelot and Guinevere who have inhabited The Grange for over 100 years, who then witness the murder of the current owner, Arthur, by his son John in an argument over money. The problem for the Ghosts is how to let the police and family know who did it, all of whom turn out to be surprising dense when it comes to picking up on the clues the ghosts leave.  Not so much a ‘who done it,’ more a ‘he done it you frustratingly unobservant lot!’

The set, stage managed by the singularly named ‘Boggle,’ assisted by Charlotte Bruce and constructed by eighteen members of the Players, a crew size that would be the envy of any other society, was the rather splendid living room interior which depicted the age of the Grange perfectly, with panelled walls, a splendid fireplace and furniture which, with the exception of a very comfy looking modern white leather sofa would have graced the living room of any late 19th - early 20th century drawing room! It certainly looked like it hadn’t been updated in recent times, which was very much the point, as the script kept referring to how much Arthur hadn’t invested in its upkeep.

Lighting by Graham Emmett consisted of a bank of LEDs stationed on an overhead bar half-way down the hall, which lit the set perfectly. However, as they explained to me afterwards this also lit up the first few rows of the audience and they would ideally like to reposition the bar further forward, but in a hired hall this is not always entirely in their control.

Makeup on the Ghosts by Neal Dench was highly amusing with their white painted faces and hands, adding extra comedy to the show. Costumes by Karen Bays contrasted the 120-year-old ghost’s late Victorian / Early Edwardian outfits with the modern clothes of the rest of the cast perfectly, highlighted by a particularly lavish period white dress worn by Guinevere.

After a couple of early prompts, the pace was quickly picked up and the show kept us all well engaged. Simon West playing it with a slightly tongue in cheek approach as Lancelot the more confident ghost with Abi Pettitt as Guinevere, more frustrated by her inability to levitate items but playfully making fun of Lancelot over his own inadequacies, such as his inability to sing in tune. Two very well pitched leads.

Geoff Durrant made a brief appearance in the first act as the house owner, Arthur before becoming the corpse, then reappearing as a ghost at the end. Very well done again in the makeup department for the blood.

Chris Thompson was the villainous son John playing it totally straight, very much in contrast to his recent NODA award for Best Dame, whilst awkwardly covering his tracks, in contrast to Neal Dench as PC 2476, who brought a smile to those of us of a certain age with his Dixon of Dock Green impersonation. Well delivered moment between him and Hilda, his wife of 40 years played by Julie Gill, who ticks him off for his Dixon impersonation. Jago Pearson played her committee colleague Sidney when they discover the body whilst Keir Sims played the solicitor who reads the will. The family of the deceased consisted of his two sisters, Dot and Sybil played by Karen Bays and Marie Quick and his brother played by Mark Hebert. The two mediums added further hilarity, Francesca Mann as the fake Madam Tayla and then Vi Pearson as the genuine Lily.

The audience certainly felt the frustration of both Lancelot and Guinevere’s attempt to disclose the true identity of the murderer with their both subtle and not so subtle clues.  A small critique perhaps the blocks identifying the killer could have been elevated in some way as they were only really visible to those audience members in the first three rows.

All in all, a well delivered light-hearted comedy, which went down well with the audience, and we all left with wide smiles feeling we had been thoroughly entertained. So, well done to Director Phil Bailey and his cast and crew.

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