NightWatch

Nightwatch

Ashton Hayes

18/3/26

Lucille Fletcher’s script for ‘Nightwatch’ is equal parts film noir and psychological thriller with a gripping lead role for a strong female actor. Ellen Wheeler (Nicola Holland), a rich woman, is recovering from a nervous breakdown afflicted with lifelong insomnia and aimlessly wandering her New York City townhouse one night, she sees something horrific in the building across the street.  A dead man sitting in a high-backed chair. Yet the police find no evidence that what she saw actually happened, causing her husband, John (Seb Farrell), and a friend, Blanche (Kat Cooke), to worry about her sanity. The play reveals a complex, deceptive plot, leading to a dramatic climax where Elaine’s sanity and actions are questioned.

Her husband John and best friend Blanche attempt to convince Elaine that she is letting her nerves get the best of her, but the eccentric neighbour Curtiss Appleby (Simon Hetherington) and their testy German maid Helga (Claire Bentley) start to hint that what is going on may not be what it seems.Both suspect an affair between her husband and best friend after we see them kiss.

Elaine sees a second body, in exactly the same circumstances as the first. Once again, the police attend, Lieutenant Walker (Dave Rogerson) and Officer Vanelli (Dan Aynsley) who attended the first visit, they do not find a body.  Helga answers the door to a stranger Sam Hoke (Stuart McNeil) who pushes her to one side, Elaine recognises him as the body in the high-backed chair who as he says is very much alive. Confused and distressed, Elaine continues day to day to be confronted by strange occurrences that lead her memories to a place she’d rather not be. Was there ever really a body?  John convinces Elaine to see Dr Tracey Lake (Kat Tanczos) a formidable physiatrist; why does he insist she should take a rest in Switzerland?

This is an accomplished performance from Ashton Hayes, well directed by Yvette Owen, an excellent cast who delivered their roles impeccably in this dark film noir with confidence and style. Set in 1950s the costumes and furniture were in period, the lighting was of huge importance in this performance, well done to Matt Parry, job well done.  There are also enough plot twists strewn throughout to keep the audience engaged. So much so, in fact, that at intermission several people hazarded guesses as to what was really going on. These guesses were all wrong I have to say. It is eventually revealed that the murders were not real, but a setup in a complex, murderous plot designed by her husband and her best friend to have her committed for an inheritance. Elaine has other plans, inviting Blanche to join her and John for drinks for a last look at the abandoned house before leaving for the airport. John is reluctant, but agrees to her odd request, they all leave.Two gun- shots ring out then silence!! 

Returning to the stage Elaine cleans the hand gun she is holding, puts it safely in a drawer. Mr. Appleby, arrives, recognizes what is happening but chooses not to report her, leaving Elaine victorious. Elaine collects her suitcase and handbag looks around the room, all is silent, she smiles turns and leaves, the room is left in darkness, magic.

The audience silent for ten seconds, then huge appreciative applause, it was splendid.  This was an exceptional drama, the cast were in character from the first moment, utterly believable, fully committed to making this the production it was. However, I feel Nicola Holland gave an outstanding performance feigning her deteriorating mental state to lure John and Blanche into a trap. What a splendid evening of live theatre, cannot wait for the next Ashton Hayes production.

 

Joanne Rymer

NODA

District 4.

 

© NODA CIO. All rights reserved.