Here At Last Is Love by David Charles Manners

This was my first official visit to the Stables Theatre as their National Operatic and Dramatic Association Representative. I always knew standards were high, but tonight’s production was exceptional. Firstly, the creation of a piece of gay history by British writer, charity founder, musician David Manners from an incredible discovery of old diaries, preserved letters and reminiscences, secondly the addition of familiar wartime, with piano accompaniment and thirdly the polished result from the talented actors both with script and vocals.

This is a true story of the drinking club situated under the Ritz Hotel in London known as ‘The Pink Sink’ introducing a vivid gallery of characters from the military, church, government, well known writers, poets and spies that passed through during a challenging time with war looming, and when love between men was forbidden. These included ‘the gay godfather of James Bond’ screen writer Paul Dehn, American poet Dunstan Thompson and Michael Pitt-Rivers whose convictions led to the law changing Wolfenden Report in 1967. ‘The Pink Sink’ with legendary hostess/singer Edomie ‘Sodomy’ Johnson known as ‘Buggers Vera Lynn’ understanding ‘her boys’ provided a safe haven, a refuge as they encountered passionate affairs, youthful hopes,  heartbreaks and the horrors of active service and  death. An amazing part of an unpublished work by Terence Rattigan only discovered in 2021 by the Manners’ family was also included.

The stage setting designed by David Manners and Jason Morrell, was simple, open with redbrick back wall that lent itself to some wonderful black and white portrait photos and wartime London scene projections  – all most effective. On opening a dust sheet covered grand piano was set backstage right with central glass chandelier lowered to ground level which was slowly raised and just two rows of gold with red velvet seats fine chairs set. The cast responsible for their movement, as necessary. The lighting effects from Jonathan Richardson were atmospheric, with appropriate sound of war-torn London chilling with Dave Rowland in charge of the sound desk. Adrian Bowd acted as SM.  Few props were required – an old microphone, a fur stole, some jewellery and a crown for a most amusing ‘Queen’ number. The cast wore black slacks, t-shirts and muted coloured buttoned shirts and at no time shoes were worn – just bare feet, apart from Sodomy who wore a dark close fitting elegant evening gown of the era and shoes ‘borrowed’ from a well-known departmental store and good ‘40’s hair styling.

There were eleven splendid members of cast creating individual characters with depth of feelings coming over the audience to create silence – then some fun, lighter moments too. Not only strength in fast script flow but in vocals too. David Manners as ‘Granny’ Leonard Blackett accompanied on the grand piano. Pivotal to the play was the amazing mezzo Louise Winters with a notable ‘Nightingale Sang in Berkeley Square’ which brought tears to my eyes.

‘A truly wonderful story, so ripe for the telling, a story of kindness and humanity – it needs to be told’ says Dame Harriet Walter.

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