Quartet

A full house matinee with the hall arranged in cabaret style with open set looking into a beautiful country house residential home in Kent for elderly ex professional theatricals –  the music room with French windows leading to a mature garden. The room contained pedestals topped with lamps, a library of books, genteel elegant seating, a baby grand and stool in an angled corner again overlooking the garden. Even the entry door view was complete with attention to detail as it opened and closed. Perfect. Sumptuous wallpaper extending into the hall giving the air of ‘spacious’. The professional set was once again designed by almost local, much experienced Terry Parsons, now residing in Burwash. Johnathan Welch mastered the build with Peter Bartlett as carpenter and decorations completed by Annie Everall, Terry himself, plus SADS helpers, and Susan multi-tasking in providing excellent props and appropriate costuming.

The theme of Harwood’s witty script deals with the bitter-sweet subject of facing the reality of ageing with probable forgetfulness, disability, loss and eventual mortality. On opening it’s a hot June morning and three old troupers are gathered. Kate Williams was Cissie with a penchant for the gardener’s naked top half, and handbag hugging companion, is sitting with headset on listening to music, with Stephen Moir as Wilf plus walking stick, sitting next to her muttering sexual desires with a twinkle, much to the annoyance of Reggie played by Brian Everall who is primly perched on piano stool studying a book on the subject of ‘art’.  Great excitement -  there is a to be a new resident and it’s rumoured to be a past star.  Much to Reggie’s horror it is Jean – performed by Melanie Todd as a great opera diva in her time and also ex-wife! - used to much attention, still with sharp tongue exchanges, her appearance is most unsettling. Later in the year 10th October is Verdi’s birthday and a gala celebration is due to take place and it’s suggested the four should rehearse singing the quartet ‘Bella figlia dell’amour’ from ‘Rigolletto’ Verdi’s 1851 fine opera, whereupon Jean becomes hysterical and takes to her room. Why?

The four versatile cast members excelled with the huge amount of script, differing pace, emotion, confusion oh so many elements. I’m sure that rehearsals were hard work but fun at the same time under the very able joint direction of Susan and Ralph. The action between the scene in the final act for the actual performance to take place was particularly commendable whilst the four changed into period costume, application of makeup, sewing of the hump, with more home truths being revealed. The retro lip-synched rendition of the quartet was the piece de resistance, with the help of Sound and Lighting Man John Bush of course who also uttered a few lines whilst operating the board at the back of the hall. The interesting likeness of the characters the quartet were singing were strangely akin to their own characteristics, an interesting aspect to this great piece. The applause for the rendition was much deserved.

Between Acts 1 and 2 was the interval when tea was poured by the food co-ordinators together with individual packages of freshly made delicate sandwiches, scone with jam and cream and a cupcake prepared by Rachel Walters added to the enjoyment of yet another SADS production. 

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