Ingredient X

Following a warm welcome by the director and attentive front of house staff, intriguing publicity and incredibly comfortable seating, the Ifield Barn Theatre delivered a unique and enjoyable production of ‘Ingredient X’ - a compelling radio play wrapped up in an accomplished theatrical performance.  

Imaginatively written by Juliet Bagnall and skilfully directed by Janine Robins the audience listened to a humorous and fast paced radio play whilst simultaneously watching it being performed. It was almost like two stories - one story being the plot of the radio play and the other being a ‘behind the scenes story’ about the tricks and challenges of recording a radio play in the 1950s. 

Substitutions in the cast were undetectable with Paula Watkins being played by Nicki Barnett and Nicki Barnett being replaced by Heather Swoffer. It is testament to the skill of the substitute characters and the adaptability of the entire cast that the substitutions had no detrimental impact on the quality of the show.  

The set gave an immediate and impressive visual impact with stand-up microphones, an always correctly illuminated on/off air box and a confident looking studio manager (who was actually a life like model) viewing operations from behind a gauze screen. The attention to detail was outstanding. In particular the display of posters from the 1950s, the old fashioned chairs and the hat stand full of hats created an entirely believable 1950s recording studio. The colours used to create the set blended seamlessly into the colours of the Barn Theatre which gave the impression of one room rather than a theatre and a stage. This feeling of there being no fourth wall was beautifully amplified by members of the cast who gently acknowledged the audience at the beginning and end of the Acts. This was just one example of Janine Robins’ clever direction which created an immersive and captivating production. 

The cast emerged looking stunning in their beautiful and perfectly fitting evening attire or period appropriate sound recording costumes. Wardrobe, hair and makeup enhanced the authenticity of the 1950s setting as did the excellent posture and movement of every member of the cast.  

There was skilful use of hats, stoles and scarfs which accentuated changes in character for example into a Russian thug or a villain from a ‘James Bond’ movie without ever being distracting. All the radio ‘actors’ stayed in their 1950s play reading character when they were away from the microphones. Their poise and restraint reflected the formality of the era and contributed to the overall authenticity of the piece. The accents and diction of the entire cast were excellent from start to finish as were their high levels of energy. 

The announcer, played by a beautifully elegant looking Kathy Stokes provided a strong anchor for the entire performance. Her energy, clarity and wonderful enunciation especially of final words, built dramatic tension and helped the audience to navigate a potentially complex plot. She also delivered her lines with exquisite salaciousness, especially when referring to potential wrongdoing, making it appear that she was revelling in the story and her role in telling it. 

The multi rolled John Bartlett was a master of disguise owing to his wonderful facial expressions, versatile accents and fluid movements. In particular his sinister but amusing portrayal of Johan Van Graan was delightful. He quickly suggested a character who was not only capable of doing serious violence to those who crossed him but also someone who would take great pleasure in inflicting it. 

An unexpected highlight of the show were the performances by Christine Linden Smith as the stage manager/sound effects person and Tracey Gladman as the sound effects/props person. These could have been simple supporting roles, but they were transformed into a subtle comedic sub story owing to the talent of both actors. 

Tracey Gladman’s performance was technically stunning. Every move she made was exaggeratedly precise. Her controlled facial expression (which was particularly funny when she was holding a telephone with only her eyes moving) created a lovable character. She only side stepped away from being totally caught up in the demands of her own world once and this was when she drank some sherry after using it for a sound effect. Her subtle and only acknowledgement of the audience at this time was exquisitely funny. 

Tracey Gladman’s subtle performance was illuminated by Christine Linden Smith’s strident portrayal of the stage manager/sound effects man. Not only was she totally believable as a man in appearance, movement and voice but she created a character who appeared totally absorbed in what he considered to be extremely important and highly skilled work. The amusing self-absorption of this character was particularly well conveyed through Christine Linden Smith’s exaggerated gestures to the behind the screen sound person and to the effects/props person whom he clearly viewed as his less skilled assistant. This was also a quietly generous performance, which allowed the silent Tracey Gladman to secure many of the laughs through her serious devotion to the task in hand. Together these two actors were a highly entertaining double act who could have stolen the show had they not appropriately downplayed their roles and had other cast members not played their roles so well. 

The entire cast maintained their characters and energy throughout the play. A lovely final touch, in keeping with the style and era of the play, was the announcer reading all the credits out loud. This enabled the audience to applaud each and every member of the cast and crew which was a lovely way to end the show. 

This was an unusual and imaginative play. The fact it worked so well reflects the clever writing, visionary direction and a dedicated cast who gave it their all. Many congratulations to Janine Robins and her team for a unique and highly enjoyable production. 

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