Hobson's Choice

The publicity and programme described this play as a ‘classic comedy’. How right they were. ‘Classic’ because it has most definitely stood the test of time since first being performed just over 100 years ago. The characters remain believable – and the story, though of its time, translates well to today.

I have seen this stage play several times and this was the best production I have seen so far.

The story is well known, from the play, and the famous 1950s film. It revolves around Henry Hobson (who owns a shoemaker/shop), his three daughters and their prospective partners, and an array of local characters. Set in Lancashire in 1880 there are three acts with different settings (Shoe shop; Cellar flat/workshop; Living room). 

The set design was incredibly clever. Congratulations to the whole team of designers, builders, and stage crew. The theatre has a relatively small stage, but the set still created three different levels.  In Act I we had a trap door going down into the workshop, and in Act II (set in a cellar) an arch was revealed with a staircase up to street level. 

Each of the three sets was well furnished and included some lovely details (e.g. the shelves piled high with shoe boxes in Act I, the workshop desk in Act II, the cooking range in Act III, the working wall lights in Act III).

The wonderful set was enhanced by excellent sound effects. The sound balance was spot on. When the shop door opened – a feint sound of the street outside. When (in Act II) the characters went behind a screen to wash dishes - the distant trickle of water.  And in Act III when Tubby Wadlow (Keith Boswell) was frying bacon on the range - the hiss and crackle made this seem real.

Henry Hobson was expertly played by Mike Kelsall. Hobson is a dominating character and Mike portrayed the ruling the roost of his shoe shop without resorting to shouting – just force of character. This is a huge role and Mike mastered this performance.

Maggie is the eldest daughter who is manager of the shop. Jen Deakin as Maggie totally inhabited the role. Maggie was formal and stern – but never unlikeable or a ‘dragon’.  Jen totally struck the right balance and had everyone in the audience on side when she got her man.

Catrin Jones and Rebecca Lowe played Maggie’s younger sisters, Alice and Vickey. Each sister had her own distinct character and their personalities were maintained throughout – and reflected in their very different choice of partners. The prospective husbands, Albert Prosser and Fred Beenstock (Jake Powell and George Jenkinson) were well played with good characterisation and were perfectly matched with the sisters.

Willie Mossop is the shy shoemaker. Socially awkward, but brilliant at his craft. The story shows the development of a new business using his skills and Maggie’s business acumen - and the development of the love between the two of them. Opposites do attract!

Willie was played by Chris Doyle and was a delight to watch. Although shy, he was never simpering. When he finally showed some steel in Act III (supported by Maggie) it was well pitched and believable.

Both Maggie and Willie have huge amounts of dialogue, but also have some scenes during which they have periods with few lines (e.g. Maggie at her desk in Act I, Willie at the dining table in Act II).  Both performers maintained their character throughout – wonderful facial expressions, bearing, and reactions to others – even when not speaking. A masterclass of stage craft.

Chris Doyle (Willie) had expert comic timing. The delivery of lines was excellent – and the scene (with no dialogue) where Willie is undressing to join his new wife in their wedding bed was hilarious.

At the end of Act II, while the set was changed, a screen was brought to the front of the stage and we were shown a black and white film of the characters at the wedding of Maggie and Willie. This was in the style of a silent movie, with all the performers in the costumes we had seen on stage and it also appeared to be filmed on the actual set. The idea of this film – and its execution – were brilliant. Again, the sound effect of the period film projector enhanced this further. The film received a very well-deserved round of applause from the audience.

Behind the film screen was a large team of stage crew completing a detailed set change - in the dark, silently, and expertly. We normally reserve the words ‘rehearsed’ and ‘choreographed’ for the performers – but both words seem apt here. This team of stage crew were slick in the extreme. Brilliant job.

The whole cast exuded a confidence in their lines and movement. Diction was impeccable throughout. I heard every single line, from every character.  The whole play moved at a perfect pace. It never dragged, but never felt rushed.

The costume plot had clearly had a lot of work. The three sisters had their black and white ‘shop’ uniforms to start – and when they changed to their wedding outfits the colour contrast was fabulous.  Albert and Fred were both dressed to reflect their different occupations and social standings. Hobson looked every inch the provincial businessman in his black three-piece suit with pocket watch. However, Hobson was wearing light tan shoes, which were not in keeping with his costume or the storyline. As the story is about his shoe shop, to coordinate with his black suit, I’d have expected him to have had the very best, most highly polished black shoes/boots that his shop could make. An advert for his business.

There are a number of supporting characters – each of them was well cast and each brought something new the play.  Jo Oultram as Mrs Hepworth (a wealthy customer of the shoe shop) had style and panache – and a wonderful costume really showing her social standing.

Tubby Wadlow (shoemaker) and Jim Heeler (friend and drinking buddy of Hobson) were both ably played and moved the narrative along.

Vicky Marshall (as Ada Figgins) showed just the right amount of frustration and upset when she realised that Willie Mossop (to whom she was ‘tokened’) would in fact be leaving her for Maggie.

Murray Milligan as Dr MacFarlane brought a smile to the face and a well-paced comic turn to the story. His Scottish accent was perfect for the role – and the tartan waistcoat reinforced the character’s heritage.  Murray’s straight-faced delivery of some really funny lines was very well honed.

The play was directed by Lesley Silcock, and Assistant Director was Neil Silcock (who was also responsible for the sound, and a part of the set design/construction team). The Silcock family deserve many congratulations.  The programme states that this is the first play directed by Lesley. I hope she does many more.  This was a debut of which she can be immensely proud. The blocking; the pace of dialogue; the humour that was extracted from the lines; the character development; the film projection to cover the set change – all tremendous.

Thank you to Kingsley Players for your warm welcome, your hospitality, and an outstanding evening of theatre.  Break a leg for your forthcoming production of Wind in the Willows in January 2023.

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