Home I'm Darling

It is almost impossible to come to any amateur show nowadays without having had weeks of build up through the regular postings on social media, so already many of us knew about the elaborate set, the wonderful cast and the diligent hunt for authentic set dressing and props.  Watching the reality, therefore, becomes less of a ‘first impression’ experience, but with the reputation of Gweek Players in mind we could be fairly certain that most of their own hype would be realised.  The set lived up to its promises!  A complex compound of sitting room and kitchen it was a perfect reproduction of homes of the time, the detail of which almost became the over-riding star of the show; the meticulous hunt was more than worth the effort for the effect the set conveyed.  Visible light sources were two hanging lampshades over the two rooms and a wall bracket in the ‘hall’ - typical styling, and a detail that effectively created a realistic environment for the action. We saw a dimming of the overall lighting between scenes that avoided a tab drop or complete blackout, both of which tend to halt the continuity, and which allowed for safe transitions while the rehearsed choreography of the changes took place.  They had gone to town over collecting the props in the same way as for the set.  So many, and all carefully linked to the ‘50s.  Who would not recognise the Beryl design cups and saucers or the pineapple ice bucket?  The attention to detail cannot be faulted in the retro telephone, the boxy record player and chunky television, all adding to the immersion into the era, and the food, devilled eggs, cheese and pineapple sticks and chocolate cake, were tackled with realism.  

Make up and hair looked perfectly right for the decade with the heavy eyebrows and Max Factor-red lips for the ladies, while the men sported Brylcreemed locks - and a flamboyant kiss curl for Marcus.  Hair extensions and elaborately coifed rolls plus the use of head wraps supported a moving timeline as Judy’s hair shifted from formal to informal, past to present. The costumes had been created and collected with a lot of love and it showed.  The 1950s look was evident in the seamed stockings, full skirts, halter necks, Capri pants, kerchiefs and cardis of both Judy and Fran; the men in braces, Hawaiian or two-tone shirts, patterned pullovers and coloured socks.  It was noticeable that each outfit was accessorised with different earrings, necklace, bracelet and shoes, which looked wonderful. 

This was an entertaining choice of play and the small cast handled well the dialogue with its frequent interruptions and unfinished sentences.  They were secure in their words and actions and the pace was kept lively, romping along with both diction and projection maintained.   The moves around the stage all had a quality of realism and the set changes, though long, were efficiently performed by the various different cast members with an evident attempt to run those movers out of or into the next scene purposefully.  The performance of this comedy was well received by an enthusiastic and appreciative audience.  The design, props and costume teams behind the direction were instrumental in the success of this lavishly detailed production so all credit to them.

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