Last Tango in Whitby

The action in this production followed a group of pensioner friends as they take their annual charabanc holiday to their usual hotel in Whitby for a week of fun and frolics.

For Pat, recently widowed, this year’s trip is tinged with sadness, but she is determined to put on a brave face and enjoy herself. 

Husband and wife team, Phil and Edna the Shangri-Las are the resident hosts who organise the entertainment and the old-time dancing which is the mainstay of the week. Phil is trapped in an unhappy marriage and trying to make the best of things, but after their first dance together he and Pat feel the spark of mutual attraction, which neither in the end can resist. Despite the disapproval of nearly everyone they decide to seize the day and start a new life together. 

The different personalities were established from the moment that they boarded the “bus”, with the earthy humour and banter as they journeyed to Whitby drawing the audience in, and all made for a cohesive and believable group of old friends.

Pat initially displayed a convincing sense of loss and loneliness but then quickly showed a determination to buck up as “her Arthur” would have said to get on with life and not to mope. 

Phil was gently played, kind and caring and it was clear from the outset that the relationship with his wife of many years was on the rocks - Edna certainly showed her feelings with a multitude of disapproving expressions. 

The other characters in the party were all well-defined. Spinster Jessie was suitably gauche, her song solo was delightful and her tendency to repeat the end of everyone else’s sentences gave the audience great amusement.

Jimmy and Joan made a believable couple and looked great on “Fancy-Dress” night as Laurel and Hardy. 

The performer playing Henry very nearly stole the show, with his ever-repeated jokes, war reminiscences, and his Scottish dance rendition of “Donald, Where’s your Troosers?” You could feel the blushes and sense the disapproval of the acerbic Maureen and Kathleen, who were excellently portrayed, every time  he lifted the back of his kilt right in their faces! 

The set was kept fairly simple with the main stage starting as the coach then transforming into the hotel foyer, dining-room, and ballroom. Small areas had been extended DSR and DSL to provide spaces for the promenade and the beach – the lobster pot and fishing bits and pieces were a nice touch.

On reflection perhaps it might have been an idea to set all the chairs representing the bus before the show and avoid a slightly cumbersome scene change so early on, the travellers still would have been able to convey a sense of setting off around them. This did prevail through most of the changes, which although efficiently executed did slow up the action every time. There were moments too when the cast assembled on stage in silence and in blackout when background music could perhaps have been used, the lighting brought up in accompaniment and the tables and chairs brought on and set accordingly. 

Phil and Edna seemed often to have been placed tightly against the SR flats with Edna at times rather hidden US of Phil, and the main cast clustered SL leaving a wide gap between, everyone could have moved back when necessary for the dancing. In the rehearsal space they would have been closer together.

The back projection for the most part worked well with pictures of the hotel exterior as well as the various inside locations. At times when the action was DSL on the extension the area at the front of the main stage remained lit showing the tables and chairs, and at this performance some music cues at times seemed delayed – although to be fair this was a new team on lighting and sound. It also should perhaps be noted that as the Director was heavily involved in supporting the backstage crew this possibly prevented her presence “out-front” during the Tech and Dress rehearsals 

The costumes were all suitably chosen for the characters, the “Red Coats” were striking and the “Fancy Dress” outfits excellent.

Overall, there were some wonderful lines, plenty of well-performed dancing, and all did make for an evening of frolic and fun for the first production of their Centenary year, and in what are still challenging times for drama societies.

Any observation made by the reviewer can only be based on what they see at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that their assessment will be affected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

 

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