One Man, Two Governors

Hilarious, ridiculous, far fetched, irreverent, brilliant, original. These are all words that spring to mind when considering this production. Now I shall reach for my Roget.

To consider producing this play at all was an achievement in itself. It is so well known and so feted, largely due to James Corden of course, that to venture where such reputations have already claimed the high ground could be considered foolhardy. There was no hint of foolhardiness about this production. It was breathtakingly excellent. ‘Nuff said!! I feel moved to end my review at this point.

Yet such are the accolades I wish to shower on the cast and production team that I will continue. Clive Stack raised the directorial bar to a new level. This was direction at its most skilful and inspired. Clive’s use of (essential for this play) physical theatre techniques worked a treat. He had trained his actors in the use of precise timing encouraging his team to use the whole stage and let themselves go completely. Herein lies another strength of the production. I have seen shows recently where little regard has been taken of the size of the stage pertinent to the action taking place on it. Clive had narrowed down the deceptively large Empire Theatre stage to fit the action. The use of the single door in the more intimate scenes worked a treat. While once the full stage was revealed with its two doors, (sl and sr,) and an upstage riser, it was used to maximum effect, particularly in the chase.

Zoe Taylor’s gloriously evocative 60s’ choreography was exemplary; performed by a superb troupe of young dancers dressed just as I remember Duggie Squires’s ‘Young Generation” on TV in that amazing decade that changed the world. Incidentally, I urge to you watch “A Sign Of The Times” (make sure it is the 2012 post of the 1966 performance) by Petula Clark on YouTube.

Richard Bean chose to set his play in the sunny Brighton of 1963. The beginning of the Shakespeareanlike opening scene introduces the majority of the players. It is a deceptively serious sombre start directed to perfection and played appropriately to allow the audience a modicum of insight into what mayhem is shortly to be unleashed. But soft, Gentles. For enter Francis Henshall, a messenger from the battlefield in any of the Henry history plays. The starting pistol has been fired and off we jolly well went. Henshall’s exuberant display of extraordinary overconfidence and sheer bravado left us all breathless. Was this actor on speed? Had he perhaps uncovered Graham Howarth’s secret stash of Cherry Brandy wine gums hidden in the stage manager’s cupboard? Stephen Claxon was outstanding. His use of the stage, and in some cases the auditorium too, was exemplary. This is a play that can happily break the convention of the fourth wall any time it chooses with no loss to the sense of detachment. Stephen took full advantage of this rare opportunity. Such was his mastery of his role that it was difficult to see the seams between script and ad-lib, well almost. Jackie Green as Rachel Crabbe gave an equally impressive performance. I had to pinch myself to realise it was indeed Jackie for a few seconds. Jackie’s interpretation of a hard-nosed cockney gangster was spot on. I loved the swagger, and so I suspect did Jackie herself she did it so well. I shall expect to see more of this in real life. It was something of an anti-climax to see her in a dress in the final scenes as I missed the wit that had been so much of her playing of her brother. The most successful ad-lib of the night was due to Jackie’s quick thinking “in character” reaction to closing a troublesome door. The audience loved it.

All the other characters caught up in this madcap farce were played with assurance. I must give a special mention to Gemma Nightingale. She possesses the kind of smile to light up the darkest room and put it to good use as Pauline Clench. Steve Catterall amused us all with the antics of Alfie. What was it all about? Claire St. Pierre was, as is to be expected such is her ability to play any role convincingly, a sassy Dolly. Andrew Smith revealed his impressive Dangle while all the other players, yes let me mention you, Martin Cottam, Robert Walsh, Gary Waugh, Dominic Dyer, Simon Hall, Ben Ashworth, Barbara Chadwick and the Reverend Graham Howarth were right up there entering into the spirit of the play and producing neat interpretations of their various roles.

The backstage crew worked their socks off. I lost count of the number of props required. The teams of Alison Smith, Ann Garlick et al. deserve high praise indeed for their considerable efforts in adding so much to the play’s success. Lighting and sound by Kris Connell and Ryan Clegg was as usual, for such is this duo’s expertise, effective and precise.

The audience lapped it up. Several people stood and cheered. The main message that came across to me was that this was a cast that had greatly enjoyed their experience and had relished the director's instructions. I am sure, as stated in the programme, that rehearsals were very enjoyable. What more can I say? Oh, how I wish you had all been there!

Congratulations to each and every member of the Club for staging such a memorable version of this wonderful play.

 

PRM.

 

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