It Runs In The Family

As the programme reminded us, Ray Cooney’s name is synonymous with farce. There is no need to bring your brain with you when you enter a theatre to watch one of his plays. Yet you know you are assured of an amusing, laugh-out-loud, experience. Moreover you don’t have to feel embarrassed to guffaw because the rest of the audience will be guffawing too.  Watching Cooney is in many respects a cathartic experience.  The intricacies of the plot are of little consequence. We have to suspend large chunks of disbelief; to dispel any instinctive objections to the inanity of what we are being asked to accept. Jonathan Mallinson, a director who is establishing a fine reputation for interpreting this kind of feel good play, had gathered a well balanced talented cast.

Set in a doctors’ common room in the London of the 1980s we are thrust into a tortuous welter of nonsense. That we are asked to transport our sensibilities to a piece so indubitably  “80s”  is an important factor. So much has changed  of what we can, in these days of ultra political correctness, innately accept. Likewise the parameters of farce itself have unsubtly shifted during the passing of the last 40 or so years.  

“Play it with a straight face”,  is an instruction I give to my players in a farce. With that in mind allow me to cut directly to Siobhan Edge’s portrayal of the Matron. Hers was for me the most successful characterisation. I  believed that she could in truth be a matron. This made it a lot easier to accept her part in a role that is in effect a bystander to the plot. Dressed immaculately, in total contrast to the two other matrons and applying varying expressions of bewilderment that we ourselves might employ to the shenanigans going on around her, Siobhan demonstrated the skills of how to amuse while teetering on the edge of the ridiculous. The other character who is given an almost impossible task is the Police Constable. It is revealing that despite us seeing quite a lot of him Coonney does not (as also with the Matron)  deign to give him a name!! He is a device for moving the action along while attempting to remind us that this series of unlikely situations might just be plausible..To make anything of the P.C.  thoughts of chasing laughs must be forgotten. Harvey W-P has my admiration for stepping up the mark.. Don’t worry, Harvey. You will soon be rewarded with easier parts to interpret I am sure.

Doctor Mortimore, working hard for his knighthood, is at the centre of the action. Steve Jackson played him as a  man slightly detached from the mayhem. He did not seem especially surprised that he had fathered a teenaged son. It was a controlled yet laid back interpretation. His wife, the wonderful Rachel Bamford, was made of sterner stuff. Rachel showed us a character full of verve able to withstand the revelations. Paul Moores reminded us of what used to be called camp in the 80s. Perfectly comfortable on stage he moved well  clearly enjoying his role. Matthew Taylor was a perfect foil to Steve Jackson. He looked the part and was able to keep up with the changes Cooney demands. John Dewhurst gave us an enjoyable impression of James Robertson Justice as Sir Willoughby Drake. Commanding, without being over confident, this was a convincing interpretation. His entrances were always greeted with respect by the audience. Speaking of entrances, the obligatory doors, so much a staple of farce, were excellently employed. There wasn't a moment's hesitation as one closed and another one opened. This was down to Jonathan’s disciplined direction. The audience is asked to shift its attention from one side of the stage to the other in a split second. During that shift the  actors can swiftly move to another part of the stage unnoticed. Jane Tate, Shelley Holman, was exemplary in her comic timing. The part is not one to evince all that much sympathy but Shelley succeeded in overcoming this obstacle with precision. Leslie, the long-lost offspring, was played by Jonathan Holbrook. This was an unusual interpretation. I was not sure if he was meant to be as mad as he was or not. It was a performance of bravura and passionate attack. I loved his outfit. 

Although generally the costumes were apt I was not sure the terrible outfits the false matrons came on in were entirely appropriate. Outrageous yes, but I am not sure, even with the utmost sense of detachment, anyone would have been fooled by them. There is farce and there is coarse acting! Joyce Teasdale splendidly did all that was required as the Mother and the Ward Sister.  I have deliberately left Bill, the peripatetic patient, to the end. What a rare opportunity for an actor to go over the top and disappear way off into the distance. Robin Brown accepted the challenge with both hands. He had us in gales of laughter as he upstaged everyone at every opportunity. For me the funniest line of the entire evening was delivered by Robin/Bill when he asked, “do you know why people call me Bill?” “No” came the reply. “Because it’s my name!!”  Silly, obvious yet unexpected and very funny. Little things and all that!!The staging was first class in the hands of Clare Highton and her teams.

Overall this was a good night out. After retrieving my brain from the cloakroom I headed out into a drizzly Oswaldtwistle night with a bright smile.I am certain I was not alone. For after all, ”You can't beat a bit of Cooney”. Super, smashing!

And thank you, Malcolm, for making me feel so welcome.

PRM.

 

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