Old Times

First of all, I would like to welcome Bedford College to NODA East District Two fold. My first visit to their on-campus purpose-built studio theatre, where we immediately received a well organised warm welcome from the head of the drama department himself, Nigel.

Old Times is a play of about an hour in length which was originally commissioned by the National Theatre’s Connections Programme, designed specifically for young performers. In this production, directed by Ashley Richey the young performers were aged from sixteen to eighteen. The play itself tells the story, part in flash back and part in the present day of an incident from five years ago where a fatal stabbing of a policeman had taken place; where they were all present and, in some way, complicit, but only one of them had ever been convicted. The rest had kept quiet and somehow avoided prosecution. Five years later they learn that Tom Joy, the convicted youth, has been released and the group, whose relationships had been fractured by the incident, are brought back together to discuss possible retaliation amidst mysterious phone calls from an unknown number. And the repercussions begin!

The stage set, designed by Fin Hannan was cleverly divided into various acting areas, including an upstairs galley with a staircase either side. The main stage with a black cloth background, was divided into, stage left ‘Emre’s Kitchen depicted with a sign board hanging off the galley in Red and Black writing on a white background. with a menu board below it. Stage right was a area of litter with a rather well produced pop art poster surrounded by various old flyers for past music gigs. The two sides being separated by an open doorway.  To stage right and left of the staircases were alcoves with a single imposing chair with bars suggesting a cell.  These were cleverly used for the flashback, interrogation scenes . In the galley were further artistic posters for gigs and a rather well painted, large,  pop or street art canvas with URBAN written on it. It certainly set the scene giving the impression of disorganised chaos, wholly appropriate to the play The only thing I didn’t really get the point of was the sheet haphazardly hanging off the balcony. But overall a very well thought out set that certainly made sure the scenes flowed seamlessly between each other.

Lighting designed by Tommy Eplette and operated by Molly Meehan lit the various areas was more or less spot on cue and were vital to the pace. A very good job indeed. Sound designed by Lily Drake Hammond I have to say I didn’t even think about, which always means it was perfectly in balance and, thank goodness not a face mic in sight, and projection was in the main excellent. One excellent trick was the ticking clock every time we switched from one time frame to the other. Well done both to the construction team and the Technical Theatre Class of 2024-25.

The acting in this was very fast paced and kept us fully engaged throughout, with our young actors being confident and self-assured, with some outstanding performances. Theo Maxim-Godden as Stefi was a perfect lead, showing both frustration and patience with his fellow co-conspirators. And Jayden Philpott-Kuamri did an equally good job as his flashback. Lily Eaton as his ill sister, Zafer put in a very memorable performance. And a nod to the makeup department who had whitened her face, so she really did look ill.

Elis Coleman was obviously having a ball as the out-of-control Tom Joy, who went to prison and was now out and the cause of the anxiety in his former friends.

In fact, I can’t really fault any of the Present or Flashback characters who all played it to the hilt. A lot of thought had gone into the characterisations and their portrayal. Projection was in the main very good and didn’t fall into the trap of speaking too fast to the detriment of diction, which was impressive for their ages.  The interaction between them was certainly impressive, not easy when you consider they were often playing characters whose ages were often above their real ones. If I had any advice to them I would say always slow down with your speech and take your time, it will not effect the pace so long as you pick up your cues promptly.  

I can’t say I fully understood the whole plot or totally followed all the complicated relationships; I need to see it again to do that. The scenes were often all over in a flash as the story seesawed back and forth between present and past.  Occasionally, and only briefly, the past and present put both characters on the stage at the same time and clever blocking ensured this didn’t detract from the story or action, and it certainly kept us enthralled and they definitely entertained us with a slickly presented piece of what was quite harrowing and complicated drama.

So, well done to Ashley Richey, her cast and crew, with a special shout out to DSM, Caitlin Armstrong who plays a key role behind the scenes. That was quite an opener as your fist production as NODA members. District two is proud to have you on board.

And finally, many thanks to the FOH staff for your kind hospitality, especially Nigel and Ashley for the warm welcome and preshow chat! Much appreciated.

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