IN FLAME

A challenging play by any standards, but one which I think Redbourn Players carried off extremely well.  The premise of the play to compare and contrast the difference in women’s lives between 1908 and 2000 was interesting.  I was very impressed with the overall high standard of this production.

The set was well constructed, and the Director had obviously given a lot of thought, with the help of his set and lighting teams, as to how to move seamlessly between the 26 scenes, giving the audience an inclusive production, and certainly one where our attention was not allowed to wander!  The four ‘sets’ incorporated on the stage and with a side extension worked well, and each set was dressed well giving the appropriate setting to each era.

Costumes were very good, they reflected the personality of each character, and looked bright and colourful.  The overall look was very pleasing to the eye.

Lighting was really good, it gave us the right atmosphere and enhanced each scene. 

The 1908 scenario was Katherine O’Sullivan (Clara), who created a charming and fey character, very childlike and naive but with flashes of understanding and anger.   Alice Regan (Livvy) was Clara’s older and supposedly wiser sister, both falling foul of the charms of an older man.  I loved the calmness of her portrayal, very nicely pitched, creating a good contrast.

Sally Patterson (Grandma) was a lovely old-fashioned caring but forthright grandma, trying to keep her young charges from straying, whilst offering her advice, which was not always what they wanted to hear – well done.

In the 2000 scenario Lucy Goodchild (Mother) had a gem of role – which she played with her usual depth of characterisation, and so many really funny lines.  The interaction between her and her carer was rather dark, whilst her reaction to her daughter was well-studied.  I loved her portrayal.

Becky Vernon-Clinch (Alex) was very much the modern woman, married lover, relationship with Mother both tender and showing exasperation – so well done. I thought her scene when she was thinking of taking her life was very telling and well-handled.   Tracey Couch (Clootie), gave us a full-on portrayal of the modern female who had been betrayed by her husband-to-be and was trying to live with the fallout, whilst forging a new relationship – Tracey got the intricacies of the character well.  The relationship between Alex and Clootie was fraught but good.

Six exceedingly good female actors, with two new faces, it is great that Redbourn has this diversity and depth of talent to call on.

Not to be outdone, we had two strong male actors in Andy Turner and Rob Kirk, they played roles within both eras – which gave them the scope to create two very differing characters.  They were versatile and believable.

Andy was the fly-by-night Frank in 1908, wooing both sisters and leaving them both expectant and expecting, whilst in 2000 he was Alex’s suave lover Mat – intimating that he would leave his wife, but having no intention of doing so – and again, leaving them both pregnant.  Very well-played.

Rob was Arthur in the 1908 scenario, a rather diffident, awkward young man, who loved Livvy and wanted to marry her regardless, he created someone we felt sorry for, with some great mannerisms.  In 2000 he was James, Mother’s carer – with a very dark side to him, but also showing a caring side – the talcum powder scene was great, also the sparklers.  Some quick switches between eras accomplished well.

My thanks to Redbourn Players for their continued support and hospitality, it is always good to visit them, and lovely to see them tackling such challenging plays to such a high standard.

Nova Horley

NODA Representative - NODA East District 3

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