Side Effects

To date Eric Chappell has written 27 plays. HIs second, "The Banana Box" published when Eric was approaching 40 hit gold when it became the basis for the iconic TV series "Rising Damp" He is often referred to as the second most famous "Granthamite"  (Some refer to the holder of the top spot as "infamous" however). Most of his plays can be classified as light comedy. All of them containing strong roles that offer actors a wonderful chance to bring their own measure of idiosyncratic characterisation.  For the most relevant example of this think only of Leonards Rossiter's Rigsby.

The plot on face value is simple. Frank Cook has been diagnosed with a rare disease rendering him incapable of standing up straight without support. In the waiting room of a nursing home, he encounters the Reverend Paul Latimer, recuperating after a heart transplant. Their respective wives are concerned about their husbands' health. Then Tracey arrives out of the blue searching for something dear to her. Namely, her late boyfriend's heart which she believes now resides, beating and throbbing with passion in the body of the Reverend Paul.

The setting throughout is the aforementioned waiting room. When the curtains opened we were presented with a highly detailed set, worthy of a round of applause in its own right and certainly continuing the tradition set by this company of great attention to detail. I was particularly drawn to the white statue in the display cabinet. The stage at Gibraltar Street is not the largest so consequently, directors are faced with the considerable challenge of making it appear uncluttered. This was generally achieved but it did lead to characters talking upstage. Mind you when one of the characters cannot move easily opportunities for this happening are limited. Director Jonathan Mallinson had wisely decided to utilise down stage for most of the action. The positioning of the seating was clever as was the effect created by the unused chair at the back. Little details often mean a lot.

The actor playing Frank was taken ill at the dress rehearsal. At very short notice, therefore, yet not in time for him to be credited in the programme, in stepped Geoff Baron. Substituting an actor at this very late stage of preparation (although unavoidable if the show is to go on) is a headache for the entire company.  Yes, Geoff used the book, yet he hardly needed it. He brought his considerable expertise to the part of Frank. If I had not been told that he had stepped in at short notice I might have thought he was merely very keen on getting the most out of his "Times" newspaper which concealed his script. I remember seeing an understudy play the part of Harry Hotspur in Henry IV Part One. The actor played the entire role with an unnaturally large shield strapped to his right arm. Only when he dropped it during a fight scene were his lines revealed glued inside. Sar Ashton as Frank's young wife June was natural in her playing of a frustrated yet concerned spouse. She used the stage with easy assurance always managing to place herself exactly where she needed to be. Overall Jonathan's blocking was tight with the grouping working well. Paul Moores was cast as the tortured vicar. He looked every inch the part. I could take him for a man of the cloth any day. That he resembled a young Jack Straw was an added bonus. Paul demonstrated the inner conflict of a priest coming to terms with a significant change in his life, leading to a crisis of faith. If you wish to accept them Eric Chappell does present audiences with the chance to reflect on some pretty major eschatological mysteries here. Something deeper beneath the patina of comedy is a feature of Chappell's work, setting him apart from most of his peers. If you don't want to dwell on the suggestions then no harm is done what so ever. Again Jonathan had got the balance right in this respect. Then along came Tracey, we never knew her other name. Julie Cockerill was just right. She looked good, giving us a Tracey imbued with a hint of mystery and a touch of unknowingness. Although clear in her diction perhaps a touch more volume and an extra smidgeon of flirtatiousness might have added even more to her successful playing of this somewhat odd character.

At this juncture, I must congratulate those responsible for the costumes and the wigs. Being dressed appropriately is vital to audiences acceptance of characters. Tracey/Julie even had a change of boots, a small but knowing touch. And so on to the fifth member of this well-balanced cast, the talented Lisa-marie Hunt. The programme told us that Lisa-marie too had only taken on the role of Sarah Latimer at short notice. One could hardly tell. Lisa-marie gave us a rather prim and proper foil to her disturbed husband. This worked well. Absolute clarity of delivery is a noted feature of this actors work.

That the audience enjoyed this production was self-evident.  The many little bits of business were appreciated.  Geoff Baron's clumsy manipulation of the motor scooter with his convincing destruction of the heavily laden hat-stand being just one example. Was this intentional or not? Frankly, my dear, I don't wish to know! 

Thank you, Blackburn Arts Club, for an enjoyable evening and for giving me such a warm welcome in my first "official" outing as a NODA district rep.

I look forward to the "Edge of Darkness" in May.

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