Ring. Around The Moon

Originally written in 1947 and first translated into English in 1950, it was completely fitting to set this production in the 1950s thereby lending an air of contemporary authenticity to its elements of witty satire, mistaken identity and the observation of ‘manners’, so distant from today’s mores.  With its implausibly complex plot of inter-mingled attractions, secret plotting and class distinctions, this whimsical comedy offers the chance for the cast to play - doubling two roles, hammy exaggeration in larger than life characters, a bit of slapstick fisticuffs and cat-fighting, whizzing around in a wheelchair - what could be more fun?  As usual Gweek Players have pulled out all the stops to present an evening that was a thoroughly immersive experience for the audience.

I have not seen the play staged before so didn’t miss a detailed set representing the outside of a grand chateau.  However, with the entire village hall dressed in a splendour of grey satin-draped walls, a beautifully constructed cascading faux fountain at the entrance detailed with overflowing rivulets of sparkling water, pompom topiary trees, white and blue clad tables with upholstered chairs and one delicate wrought-iron chair at centre stage, plus the welcome by a genial maitre d, who, to give credit where due, stayed immaculately in deferential character despite my making an attempt at conversation, I was in no doubt that we were ‘somewhere special’.  By seating us at small tables around all four sides of the action we became guests at the ball - as indeed the publicity machine had gone to some effort to convey. This was reinforced on occasions when cast members sat on chairs carefully placed at our tables moments before the play started, and when two audience members were invited to guard various hand props.  On the stage stood a white trellis decorated with fairy lights, in front of a screen used effectively for projection of a variety of slides and film meticulously selected to enhance the relevant scenes.  Four vomitoria allowed easy access onto the main acting area; three placed on the flat and one being from on stage through the trellis down a curved flight of steps onto a large expanse of uncluttered and specially laid colour-schemed floor over which hung a grid of more paper pompoms.  The colour scheme of white, blue and grey with silver accents was enchanting, underpinning the slightly other-worldly feel of the play.  Whilst appearing very simple it was abundantly clear that a lot of preparation and hours of work had gone into creating this first very successful impression. 

The Lighting was skilfully focussed to avoid shining in the eyes of the audience - not always easy when playing in the round with a need to light from all sides.  It illuminated the main floor and front of the stage while keeping upstage darker for the discreet entrances from the chateau.  Subtle changes provided a passage of time and scene transitions, which were performed without the need for total blackout thus keeping the action flowing.  A dancing couple, harvest moon, floating money and fireworks all appeared on the screen never obtrusively drawing the eye - so if I missed any it was because I was gripped by the performances.  The well-timed sound effects added to the ambiance of the ball with a gentle murmur of guests, music for dancing, clock chime and fireworks.  More prominent was the music when dancing occurred on stage, never overpowering the conversations, and well chosen to be quite in keeping with the period and the relevant dance.

Very often an “it’ll do” in productions, your choice of Props was mindful of the era and the closeness of the audience.  Hugo’s timeless cup-and-ball was a classic; the exquisite mother of pearl opera glasses emerging from a delightful little embroidered box were a joy; the pocket watches and fobs were just right; Joshua’s salver spot on. However, although the butterfly net gave a vintage appearance it seemed rather heavy-weight to me - the advance of its thick wooden frame might have frightened away the prey - I’m sure you did your research.  Absolutely right to have leather suitcases but, (dare I say it?) they do seem rather beaten up nowadays - hard to find well-maintained ones from the ‘50s, I imagine, (and we could argue that in the ‘50s suitcases from the ‘20s were still being used) but the comedy value of the mini version depicting the millionaire’s loss of fortune was not missed!  One wonders how many fivers you had to print to be able to rip up so many every night!  It was a treat to see the saucy maids filling their bodices with those that remained intact. The upholstered wooden wheelchair was a magnificent find and was deftly manoeuvred by its occupant who seemed comfortably at home in it.  

The Costume department did a first class job of dressing the large cast in so many glamorous outfits, both day wear and evening wear.  The 1950s’ Dior look was evident in the large collars, full skirts and net petticoats of the ladies, with attention paid to the detail of hat and gloves, Mary Janes and seamed stockings.  Ladies of the era would have been constantly checking their seams because they did tend to wander; without that habit instilled today’s ladies wearing them here didn’t notice the dark heel welt turning to ride up their ankles!  Diana’s casual appearance, barefooted and in headscarf, cropped trousers and bold-framed sunglasses spoke of a relaxed weekend in the country and her wealth was pointed in the extravagance of her lavender shot-silk ballgown. Lady India looked elegant in edge to edge jacket with detail of waist-cinching plaited belt, its ivory colour in sharp contrast to the strong rust of her full dress and so different from the exotic slender red and gold silk tango dress.  Mother’s first entrance in conventional hat and pearls belied the eccentricity of her imposed alter-ego’s evening attire, resplendent with elbow length gloves, lamé turban and OTT ostrich plumes atop a haze of rainbow-graded chiffon.  Capulet’s change from the appropriately rather drab nursemaid-like blue into more racy lacy navy with feather boa supported her ‘coming out’ on meeting her friend again, although its wide neckline and deep back did allow the shoulders to slip revealing bra straps.  Isabelle’s palette of pink, modestly pastel on her introduction becoming more vibrant after her grooming, perfectly suited the dancer, and the pull-away bow was a clever way of tearing the dress every night without damage - just the merest indication of ripped fabric left at the waistline, a fine detail there! In keeping with the ‘class’ on display, all the ladies sported a wealth of dazzling jewellery. The gentlemen are usually easier to dress - most wardrobe departments have a few period suits hanging around and men’s styles don’t change that much so the distinction between day and evening wear is largely down to the satin bow ties and cummerbunds, and tailcoats that you chose once the tweeds and lounge suits of the morning had been admired.  Messerschmann looked decidedly out of place in both his down to earth ‘country’ outfit and the only white tuxedo at a Black Tie do.  This suited the character admirably - new wealth not knowing exactly how to behave in Society.  The perfect butler had a change of waistcoat and the addition of white gloves for his formal evening appearance and the General looked distinguished in his dress red.  Hugo’s cricketing whites, down to the shoes, were perfect for a morning at the chateau, and the difference between him and Frederic was nicely understated with the use of a colourful scarf. 

The Hair and Make up requirements of this play centre around creating the look of the 1950s and this was achieved with strong colouring; dark eyebrows and vibrant red lips.  The wigs and hair pieces on display appeared to be of good quality; not those nasty shiny cheap ones, and were styled well.  Joshua’s natural hair was in a suitably masculine style and Isabelle’s in a tidy ballerina bun.  The piece de resistance, though, had to be the extreme dedication and commitment to a role in the transmutation of a beautiful young woman into a man so convincingly that even by the end of two and a half hours several of the audience still didn’t realise the extraordinary feat they had witnessed.  For a good five minutes I was convinced I was watching the actor’s brother, then spent the rest of the time spellbound!  What a lesson for those actors (we’ve all seen them) who put their long hair into pony tails rather than cut it for a few weeks, and those hirsute gents who refuse to alter their facial hair whatever the role.  Hair grows - what’s the problem?  As well as the short back and sides her/his precisely contoured make up seemed to alter her face completely.  !00%, full marks, gold star and standing ovation to you!

Direction was in the hands of someone who knows her material and is passionate about going the full distance to achieve her vision.  It succeeded beautifully, starting with immaculate casting.  The support of the creative team around you allowed the production to fly - set design and build, crush design and construction, costumes, and light and sound all came together.  Setting it in the round was a challenge for the actors because of the need to project backwards and to act with the back.  They were skilfully kept on the move so that all sides of the audience had a good view, with this never seeming artificial or forced, and the vocal delivery was for the most part strong.  Given the number of access points onto the play area, entrances were prompt and well co-ordinated to avoid congestion. I felt comfortable with the very clear ‘geography’ of the chateau and its grounds, so we knew the location of the ‘lake’ or the ‘greenhouse’ and where people were going to or coming from.  The dancing was carefully choreographed to be interesting enough to watch yet simple enough to perform while keeping up the dialogue - and amusing.  And the superbly devised and hilarious face slap was rehearsed so well that it came off to perfection - and we had the enormous pleasure of seeing it twice… simply gorgeous!  I could have watched that again and again.  Young Isabelle seemed a little quiet at times but gradually developed her confidence in performance, as in character, and it was pleasing to see her appearance after the ‘drowning’ was a little damp in reality.  The change from fey to distraught and back to fey that was required of Capulet struck me as rather sudden and it would have been satisfying to see a little more of her thought process between the transitions.  The pace and attack was noticeable throughout, with energy and crisp timing in the delivery that engaged the audience who enjoyed being drawn into the story, despite the complexity of its plot, which isn’t straightforward to follow. You made excellent use of the space available with different levels to maintain a variety of pictures, the cast moving confidently up and down the steps with ease into the groupings you had blocked and the choreographed bows were the final cherry on the top.   After a three year gestation period you can feel proud to have achieved what you set out to do.

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