Night Must Fall

Colwall Players

To do this production justice, I must first mention the remarkable set. As always, Colwall Players transformed the village hall into a performance space perfectly suited to the play’s needs. On this occasion, it became a convincing 1930s living room, complete with an impressive level of period detail. The design allowed for the use of an authentic wheelchair from the era while still accommodating all the features expected in a cluttered, post-Victorian interior — from Staffordshire dogs on the mantelpiece and sepia-toned photographs on the sideboard to the grandmother clock on the wall. The windows, with daylight filtering through, were particularly effective, as were the gas wall and table lights, which glowed gradually when “lit” in a way that felt wonderfully authentic. It was lovely to hear the audience’s appreciation, with many clearly recognising echoes of rooms familiar from relatives of that generation.

The play opened with the resonant voice of the Lord Chief Justice pronouncing sentence for murder. Its solemnity set the tone for the play, and the subtle underscore added to the atmosphere without being intrusive.  

As the characters were introduced, the play’s intricate psychological tensions began to unfold. Mrs Bramson’s mean-spirited hold over those around her, superbly conveyed by Anne Peden, meant that when later events invited sympathy, little was forthcoming. It was a pivotal role, and Anne brought a striking realism to it, delivering a performance that deserves high praise. Ali Harris played her long-suffering niece and companion Olivia, with grace and great sensitivity, capturing both her love of literature and her deep unhappiness with her situation. She was romantically pursued by Hubert Laurie, played by Michael Peden, whom she dismisses as rather dull; yet although the character may have been so, Michael’s performance nevertheless won the audience’s affection—his pompousness and the rejection scene were especially well played.

Hannah Ballard made her debut as the housemaid Dora Parkoe, a young woman who has fallen for the dubious charms of the hotel lothario Dan and now finds herself pregnant. Hannah brought a delightfully dim sweetness to the role, capturing exactly the kind of wide‑eyed innocence the part demands. In contrast, Sue Ricketts brought wonderful energy to the long‑suffering cook‑maid Mrs Terrence, whose sharp tongue and quick wit had the audience laughing out loud. Sue’s impeccable timing made every line a joy, offering much‑needed light relief in an otherwise dark production. Similarly, Jane Herron added her own comedic spark as Nurse Libby, contributing effectively to the lighter moments.

Nigel Hales was everything you could want in an Inspector Belsize, carrying a quiet authority and an observant manner that suggested nothing escaped him. His mannerisms and natural affinity with the role were first‑rate, creating a performance of real assurance and subtlety.

Ben Swift delivered a compelling performance as Dan, the charismatic yet sociopathic presence whose persona swung disconcertingly between kindness and helpfulness and a menacing, sinister tormentor. I must confess, I found myself slightly unnerved by Ben’s portrayal — his conviction in the role made the character’s volatility feel alarmingly real.

The scenes between Olivia and Dan carried such intensity that the air felt charged with their emotion; a pin dropping would have echoed through the hall like an oak tree falling. Ali and Ben never missed a beat, even in the most dramatic moments, and their shared empathy — irrational though it was on Olivia’s part — was utterly palpable.

Another standout element of this excellent production was the costuming, which was not only authentically period‑appropriate but genuinely gorgeous. From the pristine nurse and maid uniforms to the elegant attire worn by the rest of the cast, every outfit was outstanding, and Irene Bentley deserves full commendation for her meticulous attention to detail. Olivia’s coat was a thing of beauty.

The off‑stage sound effects were perfectly judged, calibrated to feel as though they came from the precise distance implied, and they added real depth to the overall quality of the play. Finally, I must congratulate Gill Young on her superb direction; the staging in particular was expertly constructed, making the most effective use of the space and enhancing every moment of the production.

Louise Hickey MBE, Regional Representative district 1

For several years, colleagues have told me about the high standards achieved by Colwall Players, not only in their set design but also in their acting. Sadly, on a number of occasions I have been unable to accept invitations to their productions due to other commitments.

However, their reputation preceded them, and I attended Night Must Fall with high expectations. Would those expectations be met? In addition, I knew nothing about the play and deliberately chose not to do any research beforehand. I wanted to see whether the Players could fully take me on the journey as the plot developed.

So, did they succeed? The short answer is yes. The longer answer is: absolutely, and more.

I am a great fan of open sets, and never more so than when they are as wonderful as this one. The audience had plenty of time before the performance began to appreciate the attention to detail, yet there was still so much to take in that it would have been easy to miss something. Not knowing the play, I was initially unaware of the significance of a small cupboard door stage left. This turned out to be the safe, complete with a practical and effective lock.

Louise has already captured the wonderful characterisations, and it is difficult to add much more. Anne Peden was excellent as the character described by another as the “old hag”. There were many other memorable one-liners, such as Olivia having “a face as long as her arm”. Speaking of Olivia, Ali Harris remained completely in character throughout and delivered a superb performance. Sue Ricketts was equally impressive as the cook and village gossip, delivering her lines with impeccable timing to maximum effect. Ben Swift skilfully balanced charm and scheming intent whenever required.

The lighting design was thoughtfully considered throughout. In particular, the paraffin lamps demonstrated the impeccable timing of the technical team. Equally impressive was the sound design; even when the gramophone was playing, the dialogue remained perfectly clear and balanced.

A massive well done from me to everyone involved in this superb production. The direction was carefully judged, creating the tension required for a psychological thriller while also drawing out the humour at exactly the right moments.

Do I hope to visit again? What do you think?

Unequivocally, yes.

Andy Brown, Regional Councillor NODA West Midlands.

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