Ring Round the Moon

Daniel Curley, the director, is to be commended for this production, which is truly the best show I have seen at Writtle Cards for a long time. His splendid direction, characterisation of each of the roles and the choreography on their very small stage, gave us a stylish, elegant show with super costumes made by the very talented Jan Irving. Although the stage is small, the use of the thrust created enough space for the performance while maintaining the intimacy of their hall. Good use was also made of the steps and the aisle. Lighting and Sound by Tom Harris was also a great improvement from previous shows that we have seen. We did like the use of the disco lights to create the illusion of the fireworks. The few prompts that were needed during the show did not detract from the production.

The set was advisedly kept clear with simple side flats giving dimension and painted to show the gardens of a chateau where a ball is about to commence. Just two chairs are used and moved well by all the actors during the show. Daniel had changed the era to the roaring 1920’s where social standing was still of utmost importance.  For the plot add some mistaken identities, some misguided love affairs, add a wheelchair bound aristocratic ‘Lady Bracknell style’ character and an assortment of comedic opportunities for the actors to really go over the top with their performances.

The main plot is of two twin brothers, Frederic and Hugo, his polar opposite, and the ladies who are after them.  Frederic, the loser in love and life, who is a kind-hearted innocent, is engaged to Diana, a Polish-Jewish millionairess although she prefers Hugo but doesn’t feel that she is good enough for him.  Hugo decides to hire a beautiful dancer to be the belle of the ball to charm Frederic and so he ends his engagement. Unfortunately Isabelle falls for Hugo and so the plot unfolds...

Liz Curley played the role of the aristocratic dagger-tongued dowager with great aplomb with her wonderful dour plain companion, Capulet, played by Paulette Harris.  Paulette has a very expressive face and she made me laugh almost from the start as everything she was thinking showed in her face. Lovely lines for Liz including ‘"You're a nice girl, Capulet, but -- you know-- this as well as I do -- you're plain and no one who is plain can ever have been twenty.") 

Neil Smith was the hapless Frederic and the dastardly Hugo, changing just his button hole and wearing glasses which neatly distinguishes between the two characters. He is on the stage most of the time and obviously has a lot of stamina to be able to do both roles, which is to be commended. There was a strong exuberant performance from Angie Gee as the OTT vulgar garrulous mother. This is a wonderful role to play and Angie obviously enjoyed every moment on the stage. I also loved her scene with her newly found friend Capulet. Their piano scene was really funny.

It was great to see a new face on the stage in the role of Isabelle - the lovely Laura Bradley. This is the first time I have had the chance to see her on stage and I do hope I see her in more productions as she is excellent. She understood the importance of stance on stage and the period that this play was set in. Lovely clarity of speech and good facial expressions and I loved the cat-fight with Diana played beautifully by Michelle Moody. There were a large number of vividly drawn and memorably played supporting roles including Louise Burtenshaw as Lady India, having an affair with the hapless secretary Patrice, played by Alex Houton. I enjoyed her tantalising him with her tango scene. She is a very talented young lady and if I did have any quibbles I would have suggested that Daniel had swapped the roles of her and Michelle as the age range might have worked better. I could see Michelle work very well as a cougar with a young man in tow.

The ever-popular Geoff Hadley was the lepidopterist involved in the scheme to dupe Frederick and Boots Baines played the world-weary butler with delightful decorum and arched eyebrows. It would have been good though to have been able to find a costume that fitted him better. Daniel Curley not only directed but also played the role of Messerschmann the millionaire whose wealth has gained him and his daughter access to the upper-class elite. His pivotal scene with Isabelle when they tear up the banknotes was very memorable. As with most plays of this kind all ends well and the play ended with the song ‘Anything Goes’ where Daniel actually managed to get the whole cast on singing and dancing – a feat in itself.

Congratulations Writtle Cards. We both really enjoyed the show as did all the audience.

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