Papa Charlie and November Echo

I understand that the choice of ‘November Echo’ was in the excellent play and appropriate for casting script, and that finding a second play to match proved difficult: how inspired to invite Richard Crawley, with his impeccable pedigree for play authorship success, to write a complimentary ‘bookend’, and with such success in matching a theme. It might be worth your while to contact Samuel French with a view to publishing and then offering as a double bill in the catalogue. So congratulations on finding and writing such a good duo to give an ingenious and absorbing play watch evening, as the programme says with themes of love, loss and life.
 Set in the departure lounge of Berlin airport, ‘Papa Charlie’ is the ‘male’ side of the story set-up: the two established and senior members of the company after a successful trade visit were well realised smoothly, self congratulatory and looking back over the years of work and friendship, Malcolm Robertson (Charles Humphrey) and Richard Crawley (Sidney Bunting) brought out their different approaches to work and looking towards the future of the firm whilst awaiting the plane home. In another part of the lounge, the two youngsters with their eyes on the future and ambition to be ‘top dog’ but with totally different ideas and their rivalries, Josh Francis (Ben Mason, the people and ladies man) and Al Frank (Dick Cole, the more introvert and technical man) sparked through the argument and their ideas with excellent contrast. An assured delivery from Sam Mann as Tony Freeman the fresh-faced and youthful substitute pilot for the private plane (and an important cog in the wheel of both plays). And thus the set-up for the second play.
 ‘November Echo’ set in the arrivals lounge in an English airport: we see the ‘female’ side of the play duo as they await the arrival of their men, and realise the implication of some of the dialogue in ‘Papa Charlie’. Obviously Mary Cole (Jennie Harrison) and Edna Bunting (Margaret White) know each other well and how they feel about their families: Mary worrying about nephew Dick and yet with caring personality keeping an eye on others, and Edna with the knitting and flask of tea and big bubbling personality. The two ladies in Ben’s life are a complete contrast with Lucy Mason (Maria McCann) full of nerves and care with the four children, not knowing for certain of an affair, but very different from poised and cool P.A. to Director Jacqueline (Beth Robertson), who is the affair. And soon to be ‘Lady’, very much aware of her importance, Dora Humphrey (Jeanette Cruickshank) trying to lord it over her companions, but not succeeding with those who know her after many years. All these ‘work’ related characters interacted and brought out the individual personality traits well and each complimented the dialogue. Alexandra Tranmer as air hostess Pauline Scott had an important role to raise the pressure and tension and push at all the personalities when things seemingly may go wrong with the landing of the aircraft, plus giving rise to all her fears with passion regarding the pilot. The tension build in the finale of this play was excellent and we were relieved at the ending: a well written plot from Pamela Sykes.
 A good two-part programme giving an excellent evening and directors Chris Morter and Paul Woodhouse are to be congratulated.

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