Nobody's Perfect

“Nobody’s Perfect” is a light hearted rom-com style play with clear homages to the screwball comedies of the 1950s, with an obvious nod to the film “Some Like it Hot” with which it shares the famous last line, in this case, becoming the title. It’s reminiscent of the 1980s and 1990s sitcom style TV shows, presenting stereotypes and counter stereotypes, highlighting the assumptions made about expected behaviour. Set in the 1990s, it’s interesting to see what is still challenging, and the unconscious acceptance the play makes of behaviours that would be challenged now: after all, the 1990s is 30 years ago!

The set was absolutely gorgeous and incredibly effective. On a fairly small stage the team created spacing for three distinct playing areas, which worked seamlessly together. Stage right was outside the flat, complete with entry phone connected to inside the flat; stage left was the office of “Love Is All Round” women’s publishers’ desk and with old fashioned phone. In between, the main playing area, was the flat, with kitchen area off to the right, a lovely latticed outside area upstage left behind the Publishing Company office, and upstage centre was an arched entrance to the rest of the flat. The main character’s desk and computer faced the audience in the middle of the flat and a sofa to stage left of the desk completed the living room effect. It was an ingenious use of space and the actors moved around using everything to full effect. Congratulations to the Set Designer David Read, also the director, and the whole team of carpenters, set construction crew and painters.

The lighting was really well done, the old fashioned lamp outside the front door stage right had a working light, and behind the lattice area stage left was lit in different ways throughout. Sound was also really good, with the multitude of phones ringing with different tones and the entry phone into the flat. The actors all looked their parts as well: costumes, hair and makeup were spot on, including the guffaw inducing appearance of Leonard’s alter ego Myrtle who looked fabulous.

The actors did a fine job in their portrayal of the piece as a whole. There were some really lovely telephone sequences between Harriet played by Bev Connor and Leonard played by Nick Parnell, where the audience could hear both sides of the conversation happening and see their individual expressions but were fully believing that the characters couldn’t see each other. This was very well done indeed and the pace was just right. The sequence with the many phones and entry phone at the end was a gorgeous piece of farce done very well.

Bev Connor’s conservative portrayal of Harriet was suitably love lorn and repressed; David Hayes as Gus was completely believable and comfortable with great stage presence as Leonard’s father: refusing to succumb to being elderly and being more interested in strip clubs and dodgy deals. He played the role with comfortable relish, with a slight tinge of old man Steptoe at times which was really funny. Sophie Connor in her first role looked the part of the rebellious teen. The show really belonged to Nick Parnell playing the central character of Leonard Loftus, the quiet statistician who dreams of becoming an author. He held the audience beautifully, playing each moment as it happened with quiet confidence. Nick also played the spectacular alter ego of Myrtle Banbury, so really two roles in one part, and he moved between them with ease. The first appearance of Myrtle dressed up was a wonderful laugh out loud guffaw moment, and the adding of the tangerines was hilarious. His list of “what women do” is somewhat still relevant; practicing what women are like in order to meet Harriet to get the cheque for her (his) prize winning novel. The opposite, and boring by comparison, Leonard falls hopelessly in love with Harriet of course, with whom he has a deep friendship as the eccentric Myrtle whose character is very like the Aunt in the Graham Greene “Travels with my Aunt”, with a super Myrtle voice. Nick Parnell does a super job of both parts, a challenging task which looked like enormous fun. The audience loved it.

As a 30 year old play highlighting family relationships, stereotypes and opposites, and the inequality between men and women; there are some things that curiously haven’t changed at all, yet a lot that has. Some of the gender bias in the writing including the expectations of what men and women should be like is a little jarring with modern audiences as it’s not far enough away to be considered vintage, such as the 50s. There are some groan worthy “dad” type jokes but then some things that are incredibly funny and written really well: “my furious little gerbil” is one example. There were plenty of laugh out loud moments and a very satisfying ending.

Congratulations to everyone involved in a really enjoyable production with lovely direction from David Read.

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