Ladies In Retirement

Retford Little Theatre 1st Feb 2023

Ladies In Retirement by Edward Percy and Reginald Denham

 

Thank you, David, for the warm welcome at Retford Little Theatre. What a busy night and almost a sell out performance, so great to see the audiences supporting you and returning to the theatre this Spring.

Ladies In Retirement is a classic chiller that was well performed and staged. Set in 1885, this thrilling story about a close family of people who obviously had struggled financially and their strange attitudes toward finding a solution in a world where women traditionally are not allowed wealth in their own name. Leonora Fiske employs a housekeeper, come companion, to help her update a pre-Tudor house on the marshes of the Thames estuary some 10 miles from Gravesend. Ellen Creed worries about her sisters, who can not manage life alone, she invites them for a holiday and then arranges things so they can remain in the house. Her solution is drastic and afterward, she suffers from guilt and remorse. Later her nephew visits and then her whole life, and the terrible crime she perpetrated is eventually revealed and then everything unravels around her. Along with the Holy Sisters from up the road, a background of cultural differences and attitudes towards mental illness are highlighted and the audience feels sympathy for the family, who has a terrible secret to keep.

The set was fantastic!  The attention to detail, looking historically correct, from the brick walls and beams, practical doorways and staircase, the furniture and household items, and lighting combined to bring Estuary House to life. Well done to the team, lead by Roger Jones, who were, Philip Cooper, Keri Duffy, Geoff Foulds, Mick Fox, Ray Johnson, Gavin Johnston, Robert Joynes, Barrie King, Ian Mather, Simon Pealing, David Smith, Adrian Summer, with scenic artist Andy Massey. When the curtain opened a well-deserved round of applause from the appreciative audience happened spontaneously. The lighting created mood and demonstrated the passing of time was excellent. (Lighting - Stephen Walker) and sound effects of carriages, weather, and the piano were well-managed and very realistic. (Sound - David Cox and Dean Wooley.) I loved the fireplace, its secrets revealed as a TV monitor which played a recording of a real fire, and the light coming from the windows and outside the door, all added to the ambiance. Very well done.

The actors were very good indeed. I had the privilege of meeting them all after the show and was eager to get their insights into playing this tense drama.  Director/producer David Cox had really demonstrated a high level of skill, with casting and voice work.  Lesley Warburton played Leonora, her deportment and feminine attitude were exemplary, a strong female, with her own money, well appointed and vivacious character, who is generous to those in her employ and a willingness to support those who had fallen on hard times. It is hinted that she was a music hall star and gained the proceeds to buy her home through ministering to generous gentlemen friends. But she relishes her situation, living with Ellen Creed, keeping her own company, her devotion to God, and fond memories of life on the stage, she doesn’t want or need to compromise.  Ellen (Millie Satchell,) tries to manipulate her into allowing her sisters to stay, and when flattery, debate and maneuvering do not work, she results to the ultimate crime.  Millie was incredible in the role, her tense, stillness at odds with the whirling guilt in her mind. She tries to maintain the lie but realises that those around her will ultimately let her down, despite the ruination that will follow. She is constantly on edge, she has huge responsibilities and no way of supporting her family, unless she can get help from Leonora. When she resorts to murder, the audience somehow has empathy for Ellen, despite the obvious flaw in the plan.

Albert the nephew by contrast feels no guilt for the thefts he perpetrates. Played by Shane Lale, this dandy manipulates those around him and steals with impunity, and schemes to come out on top, despite being wanted by the police. Albert drives the action, seduces the maid Lucy, invents ghosts, and lies with ease. Shane’s acting incorporated an easy style to portray this louche man, his body language and attitude confirmed his immoral mind and shady dealings.  His interactions with other actors were realistic and his storytelling came from his voice and attitude, very well done.  Lucy Gilham, the hard working young and impressionable maid was played with energy by Laura Kent. Exactly right for the character with her quick movements, innocent nature, and incredible vigour. She believes the world is a good place, despite living with dishonourable people. Unable to question her betters but willing to conspire with Albert, against her better judgement, as he manipulates her expertly into believing he loves her.

The slightly dotty sisters, Louisa and Emily, played by Gaby Hardwick and Keri Duffy were the lightness to the dark themes of the play.  I really loved these two gentlewomen.  Obviously today, we might see the mental health issues that plague them, but in 1885, they would have been reliant on the goodwill of family to ensure they led a comfortable life.  Without them, they may have been destitute, unable to marry or work to gain a living or a home. Their sister tries to protect them but cannot control their innocently revealing the truths they learn. Both Gaby and Keri portrayed their characters well, child-like in adult bodies, used to an ordered life, with hobbies to distract them.  Both played the petulant arguing siblings very well. I was fascinated by their attention to detail, the fussy attitude, less taught body language and gay step.  Charming. The final character brings attention to the religious undercurrent of the world in 1885. Everyone would have been expected to worship God and attend a church.  But the presence of Sister Theresa, played by Bryony Wood, brings this pressure to the household from outside.  Bryony played this sympathetic nun with a light touch.  Potentially a threat to the chaos within Estuary House, but her friendly attitude and non-judgmental approach to the family were obvious and well portrayed. The added friction between the strict Roman Catholic Order and the Anglican Church would have been obvious even to audiences in the 1940s when the play was written.

Pace and voice work were excellent. The light and shade built into the play through altering pace was very interesting.  For instance, Albert insinuates himself slowly in the home. Then his pace picks up as he discovers the crime and even more when he is juggling the burgeoning relationship with Lucy and trying to get money out of his aunt.  These machinations kept the audience on the edge of their seat simply through speed of delivery.  Ellen portrayed the worry and guilt with a slower, almost over exaggerated pace and the frenetic Lucy, happy and busy meant she entered in a whirl.  This clever direction enables the suspense to build, relax and then build again, just brilliant.  I felt wrung out by the end, my focus totally on the stage, within the play, and the rest of the theatre just melted away.  Tension, attention to detail, and a super cast meant a very successful evening of theatre.

I would like to add that the make-up was very good, the subtle way Ellen became paler, for instance, which emphasised her mental turmoil and illness. I also adored the costumes.  Some were hired from Concordia Theatre (Hinkley), others supplied by RLT and cast members. The colour pallet chosen worked very well, the maid's outfit was golden brown rather than black, the bright childlike colours of Louisa and Ellen, the black formalwear of Ellen, and the softer colours of the older Leonora all added to the characterisation. I really liked Albert's suit with matching coat, almost dazzling, yet in tones that complimented Lucy and indeed the house. Very clever.

Stage manager Lizzie Brookes assisted by Donna Arnold, Judith Cole, and Allison Pitts (last minute stand in), did an excellent job, the scene changes were elegantly done, behind a closed curtain. I heard the members of the audiences near me speculate about what might be revealed next, with much oo-ing, as each cliffhanger was staged, excellent work.  Speaking to David, I can see he relishes how the audiences are back, and supporting local theatre companies.  The Retford Little Theatre is growing, I see as two newcomers on stage, Laura and Bryony, long may this continue.

Your program was lovely, with background on the play, a spotlight on Geoff Folds - long standing member, 'Producers notes', and excellent artwork. Sadly I am unable to enter this into the NODA competition due to you, not including any NODA badge or reference.  Something you may like to address with your next production.  For more information  head to - https://www.noda.org.uk/download/181/2022-2024-competition-details

Thank you for an excellent evening of theatre, I look forward to returning later this year when you stage On Golden Pond by Ernest Thompson

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