Hoovering on the Edge

Opening Remarks

It was my absolute pleasure to attend the latest production of Hardingstone Players, ‘Hoovering on the Edge’.

This being my first visit, I was very excited to see what the well-known village-based society had produced. I must stress, I was far from disappointed; the production, I had the pleasure of viewing, lived-up to the expectation of my excitement and was, on so many levels, a show of a fantastic standard.

I would like to note a few points about Hardingstone Players and its venue. The society is a small community run village group that operates – to a large extent – from Hardingstone Village Hall, which is an equally small venue. As the previous Chief Executive of a similar group, I know only too well the challenges and rewards of running such truly community-based societies from a village hall. I commend the dedication of all concerned because the staging of productions, in a general-purpose venue, which you transform into a theatre, is no easy task! To do so with a small committee, and an equally small membership, is even greater an achievement.

I salute the dedicated members of Hardingstone Players, many of whom must wear numerous hats, to ensure that live theatre is brought to their part of Northamptonshire. Please never underestimate the important contribution you make to community theatre in your NODA District and Region.

The Show

‘Hoovering on the Edge’ is written by Hilary Spiers. The script follows a group of women – of all ages and backgrounds – who have enrolled on a creative writing retreat.

The play was perfectly suited to Hardingstone Players and would be appropriate for any group with a large female membership – the script only demands the casting of one male.

With a Spanish Hotel as its backdrop, the plot takes the audience on a journey of flourishing friendships between women – who on paper would never be friends! In so doing, an important message runs through the script: never judge a woman by a societal stereotype. 

The script is extremely funny, with lots of light-hearted humour, quick wit, and great one-liners. There is, however, also meaningful emotion entwined in the story line and relationships developed by the characters. The script also nods to important societal issues as to the roles and responsibilities of women and seeks to challenge this through sexuality, spirituality, death, love, and friendship.

Creatives

Alison Roberts did a fantastic job in the direction of the production. In fact, I would go so far as to say Alison’s work was as good as any, I have seen across the NODA District and Region, and displays professional qualities.

Her blocking was excellent, adding depth and texture for the audience to enjoy. She had clearly worked hard with the cast to ensure the dialogue was delivered in a realistic, conversational style, as required by the script. It was also evident that Alison had assisted the cast in the development of strong characterisation.

I want to applaud Alison for her direction of scene transitions, which were carried out by costumed stagehands as part of the production. This is precisely what should occur and is exactly how I would have directed these transitions. So often I provide a note to groups – large and small – on the need to manage transitions in this way instead of using blackouts or closing curtains; alas, I am so pleased I do not have to do that in this report for Hardingstone Players. I strongly encourage the society to retain this style of transition, which adds professionalism to the production, and would suggest being even bolder when it comes to the blocking and directing of transitions.

Cast

Every cast member did an excellent job and was perfectly suited to their roles, offering the audience well-defined characters, excellent inter-cast reactions, and brilliant delivery of the comedic aspects of the script. The cast, also, I must stress, managed the more tender moments exceptionally well. Strong capabilities were, also, demonstrated by the cast in the delivery of the fiery aspects of the plot.

With such a strong and well-balanced cast, I am not going to mention specific performers: all concerned are all worthy of praise and credit. Instead, I would like to mention a couple of scenes.

First, my favourite scene occurred when all the cast were in fits of laughter upon the reading of Clare’s (played by Zoe McLean) story, in which the character was based on Moira (played by Rhiannon George).

Second, the relaxation scene, in which we could see the characters developing and friendships blossoming.

Finally, I greatly enjoyed Act 2, Scene 4, in which the story was brought to a tender, meaningful end. The successful delivery of several character arcs by the cast is to be celebrated. The collective response of the cast to the death of their friend Rita (played by Gemma Young) also brought a well of emotion over me and the audience – yes, the cast made me cry!

I will, however, specially, mention the excellent work of the stagehands, namely Hilary Hodge, Lawrence Hodge, and Ken Roberts, who collectively portrayed the staff of the hotel. In fact, I think Ken may have delivered the performance of the evening whilst drawing the raffle in the interval!

I will, also, specially applaud Jenny Wilson for stepping into the role of Honor on such short notice.

I deeply congratulate all cast members on their brilliant work on stage. Together the cast produced an extremely funny yet slick interpretation of ‘Hoovering on the Edge’, which would have been at home on many a larger stage! It was evident to me, and the rest of the audience, how much fun the entire cast were having on stage; this translated to the audience, which found itself in fits of laughter on several occasions.

Production

The set was of a very good standard, with attention to detail being paid. The high standard of the staging added greatly to the overall production. The properties were of an equally good standard, and I greatly appreciated the attention to detail paid. I congratulate Alison Roberts, Iain and Hilary Hodge, and the members of the society on the design and building of the set. I can appreciate only too well how much effort goes into, quite literally, building your stage because the venue does not have one.  

The costumes were well sourced and reflective of the play and overall production.

The lighting design was simple but realistic and effective. Again, the fact that all the rigging is installed by members is to the society’s credit. The sound was of a good standard throughout and any effects were managed with professionalism. All transitions were achieved with ease; I also re-stress my observations, made above, as to the professional way in which the transitions were directed by Alison Roberts. Credit for the standard of the work in these area lies with Alison, Richard Wenham, Simon Wolfenden, Hilary Hodge, Lawrence Hodge, and Ken Roberts.

Closing remarks

My warmest of congratulations for an extremely good production of ‘Hoovering on the Edge’, which really was excellent! It was a very funny production of a very good standard, with professional qualities present, particularly in the direction and attention to detail paid to various aspects of the production.

I thank Hardingstone Players for the very warm hospitality shown to me upon my visit – the cake was truly delicious!

I look forward to seeing the society’s work again in the future and wish all concerned the very best of luck for upcoming events.

Luke Campbell, Regional Representative, NODA East Midlands District 7

© NODA CIO. All rights reserved.