Quartet

Most people will associate the title of Quartet with the better known 2012 film that had been adapted from this play of some 13 years earlier and which had had a short West End run to somewhat mixed reviews.   The film was able to expand on the number of dramatic personae and the settings required of the story but Ronald Harwood’s original relies on a rather thin plot with just four characters and two settings to fill the two hours.  This puts heavy demands on the four who have a great many lines to learn, so this was considerably different from any of the full-length plays I have previously seen at Gweek with their well-stocked casts sharing the load!  

The Set was open to view on the stage.   Down Left three fold up garden chairs and a low table were backed by a rose-clad trellis to represent the terrace of the retirement home.  In front of them troughs of greenery enhanced the picture and ensured that no one fell off the front of the stage but did rather cramp the arrangement behind leaving little space for the performers to move comfortably.  The main stage was designed to give the impression of the home’s music room.  Your baby grand piano was brought out of storage again to sit UL, while at centre two throne-like upright chairs stood ceremoniously conspicuous, and a large upholstered armchair and a carver were placed firmly against the right wall.  We might have expected to see more easy-style chairs for the comfort of the elderly residents but the placement of what was there gave space to allow for the additions of a clothes rail and make up tables to indicate the room’s use as a dressing room in Act Two.  The side flats carried what appeared to be blackboard and chalk drawings of Verdi and of Mozart and as a fanciful backdrop the cyc was decorated with an enormous Viennese mask surrounded by staves of music.  This backing subsequently split open to reveal a projection of the set of Act 3 of Rigoletto for the final scene.  This was not a lavish or realistic set but it presented the desired impression and served its inhabitants in a creative way.  

The Lighting properly focussed on the terrace initially giving us strong sunlight as the first three characters sat in discussion, although the whole stage had low light to allow their entrances; - and so we could see the elegant backdrop.  Jean’s arrival noticeably was given lights up at centre.  There were no shady areas and all faces could be seen and read.  Changes were subtle as for the most part natural light was required until the final concert performance.  T

he Sound recording of the opening music changed very cleverly into the effect that Cissy was listening to it through her headphones.    A suitably ‘distant’ dinner gong signalled the end of the Act.  We heard a few notes played as Reginald sat at the piano and some off-stage singing to support the mood of preparation for the concert but the predominant sound effect was the playing of Bella figlia dell’amore to end the play as the quartet of has-beens recreated that moment of their youthful glory they recalled from many years previously.  All cues came on time and the volume was appropriate for the venue and dialogue.  

The need for Props was relatively limited in Act One with Reginald’s book and Cissy’s capacious bag, Walkman and CD case perfectly right.  While Will was at home using his simple cane, Jean’s more elaborate walking stick proved a bit of a problem on the night I watched with its tripod base falling off, much to the amusement of the audience.  What to do in such a situation?  Best not to ignore it, but unfortunately it was some awkward moments before “Reggie” rescued the abandoned foot with a discreet ad-lib.  The later presentation of a jar of lime marmalade was his reward!  Act Two gave more scope with the unpacking of the costumes from deep inside a large wicker skip, it’s unlocking by Reg aided by a fortuitously handy can of WD40.  A rail of stage costumes effectively divided the set into men’s and ladies’ dressing rooms as the foursome prepared for the concert.  There was what appeared to be a special make up mirror surrounded by spotlights but since these didn’t seem ever to light up as they would have, perhaps I’m wrong.  It was fascinating to watch the transformation of the hunchback Rigoletto’s hump as its stuffing was deftly removed before our eyes to reduce its exaggeration, almost stealing the scene!   

Make up and Hair for the majority of players and for most of the time was straightforward but to add to the effect of her scatty nature Cissy was given a wig of careless curls for her character and then, in her opera persona of the temptress Maddalena, she donned a glamorous fall of auburn ringlets.  Gilda looked quite the part wearing her under-wig skull cap as she had her make up applied.  The wigs were fitted well enough to stay in place and with the hairline properly concealed.  Reginald’s hair appeared to have a smattering of powder greying, and Wilf, to his credit, artfully and in a short time, created a full jester make up on stage using just a small mirror.  

The Costumes for this contemporary play were chosen carefully to compliment the characters, with a clearly defined contrast between the serious and conservatively-suited Reg and the more fun loving, lecherous Wilf in his casual and untidy attire; and the loose, flowery dresses of dear ditsy Cissy and the smart turn out of self-conscious and proud Jean complete with “I want to be anonymous’ sunglasses, and pearls.  Their switch into robes and dressing gowns was also considered and, of course, the special opera garments were in keeping with an imagined version of Rigoletto.  

Direction: The closeness of the cast's teamwork was evident in the way they covered up flaws for each other - a prompt, the coping with the broken stick, and covering a late arrival onstage with ad libs, as well as assisting with the dressing for the concert.  Despite the hiccups the audience seemed to appreciate the performance and there was a good deal of laughter at the humorous script - the lines of which must have struck a chord with several of us of a similar age.  Conversational pieces such as this can tend to be very static and it is a challenge to give the cast moves for variety that look natural when, in fact, people really do sit still for lengthy reminiscences, particularly the elderly in homes!  Vocal delivery becomes all the more important with range, pitch and pace providing the interest.  There were moments when we could have done with more attack.  For the most part these characters used their stage as directed, but at one time Cissy was obliged to manhandle the black drapes in order to exit SL and on her return a hand could be seen paging it for her re-entrance unluckily.  The four of them each had some complex and repetitive lines and did well to hold their concentration - as indeed they did remarkably well in the grand finale of lip-synching to ‘their’ recording, and in Italian too!  The arrival of the home’s inmates at the end to watch the concert must be in the script because of the programme credit given to Bobby Swanson whom sadly we barely saw as distinct from the others.  It was amusing to note the photographs in the programme - showing our four singers and young Bobby as they were in their heyday, not a grey hair in sight!  A delightful touch of whimsy.

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