Jack Absolute Flies Again

I was so looking forward to coming back to the lovely Merlin theatre. Thank
you for inviting me and for the lovely welcome from Roo and Richard Wright.
It was good to talk a bit about the play, as I didn’t know it at all. Wow! What a
night I was in for.
From the moment I stepped into the auditorium it was clear that this
production of Jack Absolute Flies Again had great ambition. The mood
lighting that greeted the audience set an immediate tone of warmth and
anticipation, drawing us into the world before a single line was even spoken. I
felt the set was impressively crafted, so richly detailed, it certainly wouldn’t
have looked out of place on the stage of the National Theatre. This was
community theatre operating at a remarkable level of professionalism, and
the care poured into every visual element promised an evening of real quality.
The casting for this production was one of its most impressive achievements.
Each performer fitted their role with a natural ease that suggests careful
thought, strong directorial vision, and a deep understanding of the play’s
blend of farce, romance, and wartime camaraderie. What stood out most is
how fully realised and well drawn each character was - the result of a
company that felt cohesive and energetic. Each actor brought a clear sense
of identity to their character. Whether portraying the heightened comedy of
the RAF base or the emotional undercurrent of wartime uncertainty, this cast
demonstrated strong acting abilities across the board. No role felt under
developed or tentative. Instead they all committed fully to the tone and
rhythm of the peace. This was particularly impressive in a play that demands
quick shifts between physical comedy, verbal wit, and sincere emotional
beats. I felt there was a great sense of chemistry within the ensemble the
relationships romantic or comedic just all felt completely believable and well
established. They interacted with confidence which suggests there was a
good trust between them and this allowed the humour to land cleanly and the
more heartfelt moments to resonate. This sense of unity elevate the entire
performance and kept the audience engaged throughout, which I certainly
was.

The lighting design was another standout element of the production,
elevating every scene with clarity and atmosphere. Each location, from the
cozy, slightly chaotic interior of Mrs Malaprop’s house, to the open expanse
of the airfield yard was beautifully distinguished through thoughtful shifts in
tone and colour. The transitions were smooth and purposeful, guiding the
audience effortlessly between moments of farce and moments of sincerity.
The projection of the house was particularly effective, instantly setting the
scene and giving the stage a strong visual identity without overwhelming the
action. This was a confident, well judged design that supported the
storytelling at every turn.
If I had any small notes — and they really are minor — the set changes
occasionally felt a little long. The pace of the play was so well established
that the actors had to work quite hard to bring the energy back up again,
which they absolutely managed to do. I just found myself wishing for a
slightly more continuous flow at times, and there were moments when some
of the female voices were a touch quiet, especially when speaking directly to
another actor on stage. At the National they’d likely be mic’d, and I did
wonder whether that might have helped here, though I appreciate it’s an
expensive option. But overall, this was one of the best plays I’ve seen in a
long while, and I left thinking I could happily watch it again. Hats off to you all
for a wonderful evening.
The Props team did an excellent job, with every item feeling appropriate to
the period and fully integrated into the world of the play. Hair and makeup
were equally well judged supporting the characters without ever distracting
from the action. And wardrobe deserves particular praise. The uniforms were
exceptionally sourced and looked completely authentic, while the ladies
dresses were beautifully chosen and perfectly suited to each character.
Together these departments created a visually cohesive production that felt
rich, detailed, and thoroughly thought through. Well done.

JACK ABSOLUTE (Jed)
You played Jack with real flare and charisma, and it’s hard to imagine a better
fit for the role. You captured Jack’s swagger, humour, and heart with ease,
making him instantly engaging. You moved effortlessly between the big
comedic moments and the more heartfelt ones, giving the character a lovely
balance. It was a performance full of personality and confidence, and one of
the highlights of the show.

LYDIA LANGUISH (Tabitha)
You gave Lydia real charm and energy, and again great casting. You brought
a lively spark to every scene, making your romantic dreams and stubborn
streak equally delightful to watch. You had a great stage presence and your
interactions with Jack were full of warmth and humour. A bright engaging
performance.
ANTHONY ABSOLUTE (Richard)
I found myself smiling every time you came on. You brought a brilliant mix of
bluster and heart to the role, making him both formidable and unexpectedly
endearing. Your timing was sharp, your presence commanding, and you
handled the characters frustrations with a lightness that kept the comedy
flowing. Very enjoyable.
MRS MALAPROP (Sue)
This was played with real flair, and the casting felt spot-on. You brought
warmth, elegance, and a lovely sense of comic timing into the role, looking
absolutely wonderful in your terrific costumes. Your Malapropisms were
delivered with charm and intelligence, on the occasion when projection
dipped slightly, a few of the wordplay gems were harder to catch but the
performance itself remained strong and engaging throughout, a delightful
interpretation of an iconic character.
JULIA MELVILLE (Katherine)
You played Julia with a delightful lightness and confidence. You had an
instinctive feel for comedy, knowing exactly how to land a funny line without
ever forcing it. Your timing was sharp, your reactions well judged, and you
brought a bright, engaging presence to every scene you appeared in.
Thoroughly enjoyable performance.
ROY FAULKLAND (James)
This actor has terrific comic precision. You captured Roy’s nervous energy
and emotional volatility with real skill, making every outburst and overreaction
feel both funny and strangely endearing. Your timing was excellent, especially
in the scenes where Roy’s jealousy spirals into full-blown farce. A well
judged, engaging performance.
LUCY (Tracey)
You had a lovely blend of warmth and sharp comic instinct. You had an
excellent feel for timing and you knew exactly how to make a funny line land.
At times, a little more projection would’ve helped ensure every moment
reached the full audience, but the characterisation itself was confident and
engaging. You bought a bright presence to the stage and contributed
beautifully to the overall energy of the production.

DUDLEY SCUNTHORPE (Michael)
You gave a really strong performance as Dudley, especially for someone
apparently stepping on stage for the first time. You looked comfortable,
handled the comedy well, and kept the character consistent throughout. Your
timing was good, lines were clear, and you stayed engaged in every scene,
not just the ones where you were speaking. There’s still room for you to grow
in adding more variety and confidence, but you absolutely held your own and
added real value to the show. Well done.
BOB ACRES (Richard)
You played Bob with great timing and a natural sense of humour, and a
relaxed confidence that made the character instantly engaging. You held the
stage with ease and contributed a lot to the fun of the production. This was a
really solid, enjoyable performance.
BIKRAM KHATTRI (Jon)
I can’t remember the last time I saw a play with such a strong cast of leading
men and you were no exception. A real asset to the show. You brought
energy, clarity and a great sense of timing to the role, making your scenes
consistently enjoyable. Your performance felt grounded and confident, and
slotted into the ensemble beautifully. You gave a strong memorable
contribution to the production.
BRIAN COVENTRY (Julian)
You played Bryan with a gentle warmth that made the character instantly
likeable. You brought an easy, natural presence to the stage, and your
sincerity shone through in every scene. You came across as such a genuine
nice guy that it was impossible not to warm to you. A thoughtful, understated
performance that added real heart to the production.
DIRECTOR (Richard Wright)
Richard you did a fantastic job with this production. The casting was perfect,
the set and lighting design were terrific, and the whole show felt carefully
shaped and confidently delivered. Even though a few scene changes might
have been a little quicker, the overall standard was so high that it hardly
mattered and I’m sure they sharpened up as the run went on. This was
genuinely one of the best all round productions I’ve seen in a while. A great
achievement, and I hope you return to the theatre before too long.
Thank you so much Frome Drama for your kind hospitality and I look forward
to seeing some of you at the awards night on 23rd May. Good luck with your
nomination.
Best wishes
Mike

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