Relative Values

On entering the hall we were treated to an attractive and well-dressed open set depicting a comfortably furnished room of a country house in the late ‘40s early ‘50’s. The “library” wallpaper on the back wall worked well, saving on both space and set building, and left no doubt as to the room where the action was to take place. The two Staffordshire pottery Spaniels standing on guard either side of the fireplace were a delightful touch.

The story revolved around the return home of Nigel, the Earl of Marshwood with his new fiancée, the Hollywood film star Miranda Frayle and the subsequent effect this would have on the life of his mother Felicity, the Countess of Marshwood and Moxie her maid. 

Everyone was waiting with eager anticipation except for Moxie who confesses herself to be in a socially awkward situation as Miranda was actually her estranged sister! 

Felicity not wanting to be without her long-standing and faithful employee comes up with the idea of “upgrading” Moxie’s status from maid to companion/secretary, thus making her effectively “one of the family”.

Moxie is initially reluctant but eventually agrees to the subterfuge, and all goes seemingly well until Miranda holds forth with her own version of her “back story”, effectively denigrating her mother and her sister!

Crestwell the Butler asserted his authority from the start and gave a strong performance throughout, keeping the star-struck housemaid Alice, a nice light touch, well in check! 

Felicity made a convincing and convivial doyenne of the establishment, in fact of the whole neighbourhood, and while she was obviously devoted to her son she was certainly not oblivious to his shortcomings! 

Nigel was suitably pompous befitting his position and was definitely rather bemused by Moxie’s sudden elevated status! 

Miranda certainly held centre stage as befitting a “starlet” soon to become “lady of the manor”, while also showing the uncertainty of her feelings with the arrival of her very believable American co-star Don Lucas.

Lady Joanna Ingleton gave good support as the typical aristocratic neighbour who was always at Felicity’s beck and call.

There were some nice exchanges early on between Moxie and the Countess, and while Moxie’s initial portrayal was gentle and unassuming her amazing transformation into the “glammed up” companion seemed to give her the confidence to unmask her sister and put a stop to the betrothal!

Inevitably as can happen on a first night occasionally there was some stumbling over lines. At times too there was some crowding in the entrance from stage right – probably space backstage is tight -and a tendency to move unnecessarily from seat to seat. 

Overall there was good attention to detail, but while the bell-pull and the telephone were right for the period the family photos on the upstage bureau seemed to be in colour. 

Costumes were well chosen and suitable for the characters. Nigel’s black patent evening shoes were stunning but his “riding outfit” did seem a tad incongruous. If the change was made stage left then again probably space was tight, the jacket was fine and the colour of the slacks right, but perhaps a pair of riding boots carried on with the crop might have worked better – small point. 

The Players however deserve warm congratulations for bringing this production to the stage after the initial plans from two years ago were somewhat thrown into disarray, enforcing cast changes and rehearsals on Zoom – in fact the previous Sunday was the first rehearsal with a complete cast! Everyone played their roles sincerely and interacted believably with each other.

As usual with Coward the dialogue was clever and witty and there were some wonderful observations of the “social divide” – certainly a “talent to amuse” and as expected the Players didn’t disappoint! Well done!

 

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