Herod

On a very cold evening it was a relief to find that the heating in St Leonards church was as warm as the welcome we received as we walked through the door. Arriving early, we had our choice of seats, although I think the view from anywhere would have been good. This is the sixth time that CATS have used the church for their Christmas Production. The staging was simple with hessian covered flats and two grey cubes one of which was designed and made to break to reveal Herod’s throne. It neatly fitted in front of the pulpit and choir screen.  Lighting by Jim Daniel and Andrew Moore was rigged on timber frames that had been carefully placed around the church pillars.

Herod is an original drama by Julie Daniel, who was also one of the Directors. It charts the two years from when the unmarried expectant Mary returns home from Nazareth through to the ‘slaughter of the innocents.’ Ruth Murphy and Paul Goodyer as Mary and Joseph were well matched, they displayed wonderful sensitively to roles which are so well documented in history. I particularly liked the census scene where Mary’s isolation was subtly enhanced by clever spotlighting.

Nick Grantham gave a commanding performance as Herod encapsulating both his physical and mental decline superbly. Particularly striking was the ghostly encounter with his murdered wife Mariamne convincingly portrayed by Anne Allured. The subtle changes in the lighting when she entered created very eerie scenes.   Other notable performances included the scheming Salome by Belinda Moore and a youthful Antipater, Joe Daniel, who delivered his lines with authority.

A number of the supporting cast flexed their acting skills with dual roles. Andrew Moore was suitably subservient as Herod’s slave Balius and as Mary’s father Joachim. It was refreshing to see the roles of the Maji played by both men and women, well done Richard Reynolds, Jayne Kaye and Rachel McCreath. They also played Seth, Sarah and Anne, the supporting cast to Mary and Joseph. While Steve Kaye tackled the roles of Nathan and Aaron. The cast was completed by Liz Murphy as Anna, Vivien Reffin as Talia and the guards where Start Rupp and Phil Carr, who all doubled as part of the crowd.

Costumes by Cath Goodyer, Jenny Pawling and Nikki Derek had good attention to detail with appropriate jewellery and other accessories.

There were, unfortunately a few fumbled lines and the prompt was needed on occasions. I would have also liked the scene changes to have been a little pacier. This didn’t however, detract from an overall good performance by an obviously passionate drama group.

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