See How They Run

A perennial favourite, See How They Run is a classic farce written by Philip King set in the 1940s and it has been performed by many groups, both professional and amateur. This was a great performance by a small but very talented group.

Lewis Rodger, who has previously performed on stage with this group, was making his debut as a director and in discussion with him I felt that he had thoroughly enjoyed this role and was very appreciative of both the cast and crew who had all worked enthusiastically under his direction. Simon Reader, who has  been assistant director /producer in previous productions was again assistant director and was responsible for set construction. Given the limitations of the venue, the set was very effective with the action taking place in the vicarage and good use was made of appropriate props to create the scene.

The play was very well cast with all the actors being fully immersed in their roles and with good interactions between the characters.

Without exception, the actors all performed their roles extremely well. Chris Holman, as Reverend Lionel Toop was suitably vague whilst his wife, Penelope, played by Gemma Quinn was daring, risk taking and an extrovert and both were very convincing. Margaret Coleman. playing Miss Skillon was the epitome of an elderly spinster, rather aloof and precious of her role in the local church. However, she really let her hair down after a few drinks and became hilarious. Sara Talbot-Ashby, playing the maid, Ida, had a pivotal role in the plot and displayed an innocence/sometimes insolence as all around her descended into mayhem. The Bishop of Lax ( Steve Fisher) and The Reverend Arthur Humphrey (Andrew Dace) were well cast, suitably vague and key participants in the mayhem which involved a frenetic chase through the vicarage and gardens. Jordan Brown played the escaped German soldier and he had some difficulty maintaining his German accent which only added to the comedy. Katherine Johnson was Sergeant Towers struggling not to laugh at the comedy being played out around her. ( Full marks for just about keeping a straight face !) Rob Porter was Lance -Corporal Clive Winton, again trying to bring some order to the mayhem on stage.

Stage Manager was Angie Reader, assisted by Katherine Johnson, with Chrissie Donegan in charge of continuity. Marie Noons was responsible for set dressing , props and also wardrobe ( with Chrissie Donegan ) The costumes were really effective and reflected the period accurately. Lighting and sound effects were in the capable hands of Greg Potter, Chris Root, Steve Gregory and Richard Kemp-Luck. Graham Green, Richard Kemp-Luck and Katherine Johnson were responsible for hair styling, again reflecting the period and Megan Day looked after makeup.

Box Office was run by Margaret Coleman, supported by the front of house team of Chrissie Donegan. Kath Meachem and Linda Potter. Photography was by Simon Reader and the programme was designed by Lewis Rodger.

Due to the size of the group all members undertake a range of roles so actors also contribute as crew members .This ensures a real appreciation of all the different aspects of a successful production.

Well done to everyone involved with this hilarious comedy and congratulations to Lewis Rodger on his successful debut as director. I wish the group good luck for your next production, Habeas Corpus, in November.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

© NODA CIO. All rights reserved.