Quartet

Ronald Harwood`s play takes place in a retirement home for former professional musicians and is based on the real-life Casa di Riposa di Musicisti, founded by Gusseppe Verdi.  Focussing on four main characters, this comedy-drama offers a cross section of personalities likely to be found in any `crinkly` home. Physically past their best, the four ex-opera stars endeavour to grow old gracefully and relive special moments with a concluding concert.

A full and interesting opening set which reflected very well the style of a residential home. It was very impressive with appropriate pictures and the rooms beyond the veranda remained tantalising.

Nick Noakes (Wilfred Bond) offered a strong performance as a has-been Don Juan who cleverly through his albeit outrageous sexual banter, managed to convince the audience that he was not convinced himself of this label. Had the set not been a little overcrowded with seating, it would have allowed Nick greater manoeuvrability rather than being so static. Act two solved this when he was able to move around the stage more freely. He tinged references to his deceased wife and to his exploits with humour as well as sadness and was still able to remain a lovable character.

Carol Arman-Addey (Cecily Robson) immersed in her music and before she even spoke, gave a huge clue as to her character through her body language and facial expressions.  A well-meaning dizzy person, albeit a little unstable, made her very engaging.  She offered a consistent performance throughout, managing to skilfully side-step being the object of Wilf`s lust. Good natured and keen to please, she lifted the audience with her ongoing enthusiasm. Her references to `Jo Green` not only amused the audience but she showed that they amused her too.  A solid and lively performance and true to her character.

David Clark (Reginald Paget) portrayed an intense and slightly nervous character but one who was proud he was not a charity case. Independent and eager to live out his days in a tranquil manner, he was not afraid to demonstrate his anger towards Angelique, a member of staff. This was always done however at a safe distance. David also showed animosity towards his ex- wife Jean but back peddled to keep intact the fact that he was a gentleman.  This persona permeated throughout the play and David gave a controlled and considered performance.

Yvonne Hegarty (Jean Horton) was every inch the Diva; self-possessed, difficult and temperamental.  She maintained this image throughout and gave an excellent and convincing performance. She really did look as if she had a hip problem, managing her walking stick with a hint of awkwardness which gave a subtle message to the audience that having to put up with less than perfection, was not her scene.

Thanks go to Martin Arman-Addey (Bobby Swanson) for adding sarcasm to this comic-opera. A little disappointing that we could not see him.

The programme was well put together and it was good to see a whole page devoted to NODA. However, the image on the front cover gave the impression that the play was to be rather dismal. which was not the case. The sets were excellent and the scene changes were smooth with the exception of one which took a disproportionate length of time for the changes that were made. The prompt was impressively under used and the lighting was appropriately subtle. The recorded clapping for the finale was a good idea but it needed to be made much more of a build-up, especially when it came to introducing Jean who was the biggest star of the group.

The play was very well cast with each of the principals offering clarity of speech and `textured` characters, with each providing moments of unexpected shifts of emotions.  It was obvious that they understood the script well enough for Marion Asplin (Director) to be able to expertly guide them through. A most enjoyable evening and judging by their responses, the audience left knowing that they had seen something special. 

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