Ladies in Lavender

Ladies in Lavender' is a gentle - one might almost say genteel - drama which tells of the impact made on the lives of two elderly sisters by an unconscious stranger who washes up on a beach near their Cornish cottage.

Firstly, I was very impressed by the set. With limited space we were presented with suggestions of two floors of a Cornish cottage, the cottage garden and a beach. The way that different areas of the stage were cleverly put together to suggest different spaces in the drama was very well executed, cleverly proportioned and well balanced to the eye. The limited playing space was arranged brilliantly and the whole piece flowed smoothly due to both the excellence of the set design and the deeply persuasive performances of the cast: drawing an audience in to what was happening and really making us a part of the world of the drama unfolding before us.

Hazel Halliday and Davina Foster excelled as Ursula and Janet Widdington, the sisters whose lives are changed by the discovery of Andrea, the young Polish violinist who has been washed ashore on a beach near the sisters' cottage. Along with their straight-talking housekeeper Dorcas, the mysterious Olga Danilov and lovelorn Doctor Mead, the sisters are taken with this young stranger and his unexpected presence affects all of their lives.

Hazel Halliday brought a humorous, delicate touch to Ursula, the sister who is most taken with young Andrea with Davina Foster bringing a more worldly and practical air to the role of Janet. Together, they made a good team on stage as their relationship was very well expressed; one could believe that these characters had a history and a routine together which aided enormously in bringing the audience in to their world.

No-nonsense housekeeper Dorcas was a vivid creation from Pat Lay - complete with a rather good Cornish accent which wasn't overdone and therefore much more effective - and her presence added a much welcome addition to the piece, giving an insight into the everyday domestic of life in the household which added an extra layer of interest to the drama. The social 'pecking-order' and the insight into domestic household politics was very nicely expressed.

Ruggero Dalla Santa was a study in quiet bewilderment as Andrea, the Polish violinist being nursed back to life by the Widdington sisters, and the simple confusions which were thrown up by the language barrier came across well. Ruggero's characterisation was very good, managing to suggest a mysterious hidden dignity alongside his love of music which made for an intriguing first act.

Ian Colpitts brought a very sympathetic touch to the role of Dr Mead, taking us with him on his transformation from fussy country doctor to smitten romantic. The object of the good doctor's affections, the mysterious Olga, was played by Sophie Manerin with a taste of the exotic which was also very well realised.

To return to the staging of the drama, it was positively hypnotic to see a very real and human drama unfold with such skill and which led to the inevitable 'staginess' of a theatrical production melting away in the presence of a talented cast, expertly directed, on a well- crafted stage. This was a very well-judged production which managed to entertain without dipping into the soggy waters of sentimentality. Here was a good example of allowing the audience to find its own way through the piece. Hazel Halliday's reading in the role of Ursula in particular was touchingly straightforward and provided a strong centre to the drama.

Music and sound effects were well chosen and added an extra dimension to the piece. The period setting was effectively realised, with appropriate costumes adding to the overall picture. The guest bedroom could have had a few more pictures or photographs and I am sure the sisters would have straightened the chair backs and the cushions every night before they retired. Small points but never the less important.

My sincere thanks go to all at Bentley House for the usual warm welcome and yet another excellent evening's entertainment.

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