Humble Boy

Our second visit to the newly revamped Harrold Centre, complete, I was told with the addition of new ceiling tiles to improve the acoustics, which certainly appeared to work well as the sound was crystal clear. Also, a nice touch greeted the audience with a ‘Welcome to Humble Boy’ banner over the entrance on arrival.

I have to admit I was not familiar with either Humble Boy or its playwright, Charlotte Jones, who amongst her many successful projects wrote the book for Lloyd-Webber’s musical, The Woman in White, so I was intrigued as to what attracted ADHOC to perform Humble Boy. This play opens when Felix Humble, a Cambridge Astrophysicist returns home after the sudden death of his father to face his difficult and demanding mother, Flora who, unbeknown to Felix has been having an affair with the local coach company owner, George Pye and now intends to marry him. To make matters worse, Flora has got rid of all his father’s things including his beloved bees. Set entirely in the Humble’s garden, mother and son spend an uncomfortable summer together whilst Felix himself struggles to cope with both his mother and his own somewhat chaotic life.

The set designed by co-director, Fran Ross was something to behold, beautifully designed with an entrance to the house stage left, in the centre was a stone archway, a back wall through the arch superbly painted to show another part of the garden, a garden wall stage right with an inset door to the garden shed. All with different stone patterns that gave a perfect country feel. The walls were then covered in what looked like hundreds of climbing roses, the stage itself was partly covered in grass and the front of the apron was a very thick laurel hedge. The attention to detail was impressive, to say the least. Furniture consisted of a garden bench, table and chairs, simple but perfectly effective.

All very well and appropriately lit by Paul Alexander and assisted by Adam Russell. Particularly well done lighting of the beehive for the opening music of Flight of the Bumble Bee. Sound by Pete Keeley was as I previously stated crystal clear.

With costumes by the multi-talented Fran Ross and make-up by Caroline Bell the scene was certainly well set.

Before the play began we were treated to an excellent guitar piece, Autumn Leaves played by David Messenger. I didn’t fully understand its relevance to the play, but it was certainly worth listening to this super rendition by a very accomplished musician indeed. A bit of a treat!

Talking of treats, the casting of this play was exceedingly well done with strong performances all round. 

Matt Rowson playing Felix Humble was absolutely perfect for this part. This complex character is the archetypical academic with autistic traits. A scientist whose grasp of astrophysics is second to none but who struggles when it come to relationships and coping with everyday life. His expressions, his almost childlike, but at the same time intellectual arguments with his mother and her lover George and the reawakening of his relationship with his ex, Rosie were all beautifully measured. Add to that his ironic stutter over words beginning with the letter ‘B’ or should I say ‘Bee.’ Fabulous to watch.

I have now seen her in several ADHOC productions and Fran Ross as Flora Humble has certainly matured into the consummate actress. As this powerful, complex and self-centred personality she dominated the stage and controlled the scenes with a very well measured performance. Her girly relationship with George, her awkward relationship with Felix and her appalling treatment of her friend Mercy demonstrated this in spades. Loved the sunglasses!

Chris Chaplin as the overbearing lover George Pye, was also a spot on piece of casting. He certainly understands comedy and subtly extracted it at almost every opportunity. The awkwardness between him and Felix, his protective instincts to his daughter, Rosie and the intimate relationship with his lover, Flora demonstrated his full range of acting skills. Super job!

Sally Dring gave us the very put-upon family friend Mercy Lott, with a lovely performance of almost innocence, rising above the insults and degrading comments to remain cheerful and humorous at all times. A great foil to Flora.

Sandra Messenger as Felix’s ex, Rosie Pye, pulled off the hurt and anger of being left with a child by, but unbeknown to Felix seven years earlier whilst stlll harbouring strong feelings for him in spite of her father’s objections, exceptionally well.

And finally, the quiet man of the cast, Jim, the gardener played by co-director Phil Briggs completed this excellent cast with a lovely unobtrusive performance, which of course leads to the great twist at the end. Brilliant stuff all round.

A very brave complex play to put on, let alone to then also direct and star in it, but I can find very little fault in Fran Ross’ and Phil Briggs’ direction. Clearly this had been a labour of love with a great deal of hard work, attention to detail and thought put into it. A very thought provoking and entertaining evening. So congratulations to one and all. We both thoroughly enjoyed the whole evening.

Last but by no means least, our thanks to Sue Chaplin and Tony Lockwood for their usual warm hospitality. Always a pleasure to visit.

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