Head Over Heels

I always enjoy making the relatively short journey from my Staffordshire hometown of Stone to the picturesque Shropshire village of Horsehay on the outskirts of Telford. The village hall sits at the heart of the community, hosting a wide variety of activities and events for local residents and specialist groups. Among its most valued contributors is the dramatic society, who stage three productions there each year and continue to help make the venue a lively cultural hub.

Having reported on Horsehay Amateur Dramatic Society’s two previous productions and greatly admired their ability to present both suspense and comedy to an impressively high standard, I was very much looking forward to their latest offering, ‘Head Over Heels’, a relatively new work by Gail Young.

First produced at Chester’s Forum Studio in October 2018 and directed by the playwright herself, this hilarious comedy‑drama is loosely inspired by real events but, as Gail notes, remains firmly rooted in fantasy. Andy and Jill have been together for more than thirty years and, despite a largely happy marriage, their relationship has begun to unravel, not helped by Andy’s misdemeanours, with divorce now looming on the horizon. It may sound a bleak prospect, yet this powerful and poignant piece delivers a surprisingly comic punch, cleverly enhance by a vibrant selection of sixties and seventies songs and music that accompany the unfolding story, adding warmth, lift, and emotional colour to the drama on stage.

The set, designed by Robin Cooper, was, as we have come to expect at Horsehay, nothing short of outstanding. Two fully realised rooms were divided by a full‑height hinged panel, complete with a fireplace and mantelpiece on its front face. At carefully timed moments throughout the play, the lighting shifted and the panel folded back to reveal a smaller performance area, where a series of brief flashbacks were staged to deepen the main narrative and enhance the overall stage action.

The right‑hand side of the stage represented Andy and Jill’s living room, complete with doors on both the right and upstage walls. A sideboard and small table sat neatly against the right‑hand wall, while a sofa occupied the central area. The space was dressed in a boldly vibrant orange patterned wallpaper, contrasted with pale blue doors that added a touch of retro charm.

On the left‑hand side, the set was ingeniously designed for quick changes into several different locations. This versatile area included a window and exit at the back, a door on the left, and a large round table with chairs positioned centrally. The upper walls were dressed in an attractive fruit‑and‑leaf patterned wallpaper, complemented by light brown panelling beneath and finished with a distinctive green door that added a final touch of character.

As the house lights dimmed and the curtains opened to the sound of Blondie’s ‘Heart of Stone’, we first met Jill (Cath Fisher), her sister Sally (Jo Kowalski) and her ‘girlfriends’ for the first time, all gathered around the table on the left‑hand side of the stage for this opening scene in the local pub, complete with a row of optics across the back window. Apart from Jill, the others were frozen in place when, suddenly, the hinged panel swung open to reveal an alpine backdrop and Andy (Rob Fisher), dressed in full hiking gear, miming enthusiastically to Frank Ifield’s 1962 hit ‘She Taught Me How To Yodel’. As he stumbled, the panel closed as Jill turned to address the audience and her friends jolted back into motion. We were up and running.

The first act was almost entirely devoted to Andy and Jill, reflecting on their relationship from its beginnings in the 1970's through a beautifully curated sequence of memories. Andy’s proposal, their first dance, the wedding, holidays abroad, and finally the birth of their much‑loved son Danny were all perfectly realised through a series of short playlets performed on the smaller stage area behind the hinged panel. Each flashback felt intimate and authentic, helped enormously by the clever use of period‑appropriate music. Brief, well‑chosen snippets of songs such as ‘I Feel Love’ (Donna Summer), ‘Eye of the Tiger’ (Survivor) and ‘Walk On By’ (Burt Bacharach & Hal David) greatly enriched these playlets with warmth and nostalgia.

So, with Andy looking forward to retirement and the promise of calmer, happier days ahead, the shift in tone was striking when Liz’s suspicions began to surface. Her growing unease about Andy’s closeness to a fellow member of his walking club cast a long shadow over the future he and Jill had imagined, threatening to unravel the life they had built together.

In the role of Jill, Cath Fisher delivered a truly monumental performance, skilfully navigating one of the most demanding roles I’ve ever seen on the amateur stage. Across more than ninety pages of script, I can barely recall her leaving the stage for more than a few seconds. She moved seamlessly between past and present, carrying the emotional weight of the story as she tried to hold her life together in the wake of Andy’s infidelity. Her direct repartee with the audience, confiding, confessing, and occasionally challenging, was beautifully judged, and the rawer, sadder moments were perfectly balanced by the lighter scenes spent with her son and sharing countless bottles of prosecco with her closest friends.

Although Liz’s meetings with her solicitor, Mrs Hyde, masterfully portrayed by Shirley Gladwin, were intended to be formal and serious as they tackled the financial fallout, they still retained a welcome thread of humour. With a divorce practice named Ditchem, Quick & Hyde, I think we were all forgiven for allowing ourselves a quiet giggle.

As Andy, Rob Fisher delivered an outstanding performance, his boundless energy first bursting through in the early flashback sequences with their rapid‑fire costume changes. Clearly a devoted husband and loyal father, Andy was also a passionate football supporter who, after the death of a close friend from lung cancer, immediately binned his cigarettes and launched himself into a hilariously over‑zealous fitness regime. Sadly, his love of hill walking brought him closer to fellow rambler Tina - played with great nuance by Karen Brittle - planting the seed for the downward spiral of his marriage. As the play progressed, the exchanges between husband and wife carried an authentic mix of awkwardness, hurt, and raw emotion, particularly as Andy pushed for a quick divorce and a share of the house. Though unsettling at times, these moments were portrayed with impressive sensitivity, style, and emotional truth.

As Jill and Andy’s son Danny, Conor McGuigan delivered a genuinely rounded and heartfelt performance. Initially the stroppy, defiant teenager, he gradually matured into a confident and personable young man in his twenties having successfully completed his college course and begun carving out his own life. Although he initially struggled to accept his parents’ separation, he remained level‑headed, refused to take sides, and maintained strong relationships with both of them. His close bond with Aunt Sally was also evident and while she remained unforgiving of Andy’s behaviour toward her sister, she was unwaveringly supportive of her beloved nephew especially when he proudly announced his promotion and impending move to Birmingham. Their pre‑Christmas conversation was particularly poignant, tender, and beautifully acted by Conor and Jo.

There were also some excellent performances across the supporting roles, all of which were impressively well cast. As Jill’s closest friends and drinking companions, Judy (Amanda Bowater) and Carol (Leigh Dudbridge) brought consistent fun and sparkle to the pub‑table scenes. While clearly sympathetic to Jill’s troubles, they still kept the laughter flowing and the camaraderie alive.

Equally memorable were the cameo appearances: Alex Edwards as Dr Greg and the airline pilot; Moira Shrimpton delivering three sharply observed turns as the barmaid, usherette and post woman; Jane Parkyn as the formidable Mrs Allhart; Kieran Palin as the young man, the waiter and a wonderfully over‑the‑top game‑show host; and Janie Edwards as the receptionist and the boxing promotional girl. Each contributed colour, humour and character, enriching the production at every turn.

The costumes were all perfectly in vogue for the period, with appropriate styles and a generous splash of colour. The lighting was more than adequate and smoothly operated by Sam and Emily Render, although a few lamps, particularly those covering stage left, would have benefitted from more precise positioning. The sound, too, was confidently handled, with Jamie Birch‑Davies ensuring that every musical cue and song was cleanly delivered.

I have already congratulated Robin Cooper on designing yet another outstanding set. It was also pleasing to see Robin credited for the company’s social media which remains consistently first‑class. Andrew Reed headed the set build and publicity, Karen Brittle led the set decoration and props with support from Sally Riley, and, although rarely required, Christine Candlin served as prompt.

But, as always, my final praise must go to Director Lisa Kane, who honed every fine detail of Gail Young’s new work with remarkable precision. She navigated the complex relationships between the characters, particularly Andy and Jill, with great sensitivity, shaping moments that were warmly comical and relaxed, and others that were emotionally charged and genuinely fraught.

After a truly memorable night on stage, the production closed with smiling faces all round and what better finale than a rousing rendition of Gloria Gaynor’s ‘I Will Survive’.

Thank you so much for inviting me to your latest production and for your warm welcome. I’m already looking forward to joining you for ‘The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society production of ‘Macbeth’ in October.

Chris C Bell
Regional Representative
NODA West Midlands District 2

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