Lord Arthur Savile's Crime

This play is an adaptation by Constance Cox of an Oscar Wilde short story.   The plot is an unlikely, even absurd one revolving around the proposed murder by Lord Arthur Savile of a relative, any relative, before his own marriage to Sybil Merton takes place.    Having been the unwilling victim of a palm reading by her mother's pet chiromantist, Mr Podgers, Lord Arthur is convinced that his future involves him committing a murder.    He desires a blissful married life so he resolves to get the murder over with first.

The set was the drawing room of Lord Arthur's Grosvenor Square house and sumptuously furnished in true Victorian style.    When the curtains opened there was an audible gasp and a round of applause from the impressed audience.

Peter Calver as Lord Arthur dominated the stage throughout, his upper class "twerp" accent and general soppiness entirely suitable.   Phil Fry as his faithful butler and co-plotter Baines was the of epitome calm and loyalty to his master.    These two characters were the largest parts and underpinned  this highly infectiously amusing play.

Grace Fairbairn as Sybil was a typically pretty Wilde upper crust girl keen to hasten into marriage with Arthur, but frustrated by his insistence on murdering someone beforehand by whatever means!    Her acting and accent were delightful.

The important character of  Arthur's uncle, the Dean of Paddington (due to perform the marriage) was brought to life by Anthony Goddard with much gravitas.    Arthur's aunt Lady Windermere and great-aunt Lady Clementina were impressively played by Catherine Wyncoll and June Brown respectively, oozing "upper crust" from every pore.

I particularly enjoyed Joanna Silcox as the battleaxe Lady Julia Merton, mother of Sybil.   Think Edith Evans as Lady Bracknell and then double it!

The fake and blackmailing Podgers was played with weasel cunning and skill by Andrew Claringbull.    Sophie MacTavish did well as Nellie the maid, the unwitting accomplice in "crime", sent out to buy poison.    Bob Wilson gave us a marvellous comic portrayal with his highly charismatic and anarchic Herr Winkelkopf, complete with German accent and clicking heels.   He flitted in and out of the play using his lanky frame to hilarious effect.

There were some longish waits between scenes while the actors changed costumes, but this did not detract from my enjoyment of a rattling and fast paced play.

Under June Brown and Pattie Thomas-Verweij costumes were most realistic and extremely well fitted.   Stephanie Hornett Johnson achieved similar results with hair, wigs and make-up.   In a period piece such as this, these matters are vitally important - so take a bow you three ladies.

Unusually for a review, I would give a special mention to Mike Sutton, set designer and build manager.   This is certainly the best set I have seen this year.   Sound, under John Chinnock  and lighting Richard Grogan were skillfully handled adding to the impressive effect.

The programme was one of the better ones I have seen this year with quality photos and comprehensive cast biographies.    The NODA crest appeared on the front cover -  perhaps a note about Noda's aims and their relevance to amateur theatre could be inserted in future programmes?  

This rather "ridiculous" play was superbly directed by Guy Hudson who managed to persuade us all that his cast were characters of substance.   Wilde is, of course, famous for his bon mots and Guy made sure we received the full benefit of Wilde's brilliance.

All in all, a most enjoyable evening put on by a highly organised, efficient and multi-talented company.   I eagerly await their next production.

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