Single or Return

A welcome return to the stage for AD-HOC after the trials and tribulations of the last three years and good to see them in fine form with not only an ambitious production, but one written and directed by one of their own, Fran Ross.  Eighteen years in the writing from an idea formulated thirty years ago, Ross’ plot centres around two couples who return to the island of Samos in Greece twenty years after the many family holidays they enjoyed together when their children were still at school. Her inspiration to finally finish the play came after taking a scriptwriting course at NODA summer school. The action takes place on the tourist boat, the Katerina, whilst out on a day trip.

The set, built by Geoff Chatfield and under the stage management of Mary Chatfield was absolutely first class, portraying the side deck of the Katerina complete with extremely realistic ship’s guardrails at the front of the stage and a seating area built into to the rear with a life belt hanging next to it. Exits were to the wings either side and the whole set was painted white, which really did draw you on to this very authentic boat and set the atmosphere perfectly.

Sound by Pete Keeley was never an issue and all cues were delivered on time and on most occasions faded in and out very subtly. Lighting by Rick Davies was particularly clever, as the ship was washed in some almost psychedelic wave patterning between scenes and the stage areas cleverly adjusted to highlight the various individual scenes between the couples. Unfortunately, some were a little late, but I suspect that was more down to missing script rather than missed cues.

The action starts with Richard, played by Phil Briggs and Caroline played by Sue Chaplin reminiscing about their visits to Samos twenty years earlier. These two are so perfectly at ease with each other you instantly assume they are the first married couple, and if they aren’t they should be. However, it soon becomes obvious upon the arrival of James, played by Chris Chaplin and Pat, or Trish as she was also called, played by Gillian Wellings, that in fact Richard’s wife is Pat; and Caroline and James are the other married couple. It also turns out that James and Pat have been carrying on with what they thought was a ‘secret’ affair for decades, totally unaware that their affair has in fact been known by all, including the two couples’ four children, for years and has been dominating the actions and mental health of both Richard and Caroline. Richard has found solace in the bottle and Caroline, still deeply in love has put up with her husband’s antics out of fear of losing him. This trip is now crunch time where the truth, with some life changing repercussions finally spills out on to the desk of the Katerina. Meanwhile a lone passenger, Annie played by Clare Page is on a recuperation holiday of her own after a messy divorce. She however is paired in the dining room with an ‘unseen’ passenger, Bill who suffers from various medical conditions and whom, as a nurse by profession, she takes it upon herself to mother and look after and make sure he takes his meds. Unfortunately, he is involved in a fatal accident which then also impacts on the two couples, their attitude to each other and their own situations and in particular to Pat.

Ross’s script is absolutely first class and keeps you riveted throughout, but the play itself, being only a five hander is extremely wordy and the Prompt, unusually placed on a central table in full view was unfortunately regularly needed, which also impacted on the pace.

Phil Briggs played Richard in what at first appeared to be a very laid-back manner, but as the story unfolded and he sips more and more of the bottle his resentment and pent-up anger towards Pat became his overriding obsession, especially as he was really in love with Caroline, a love that was not reciprocated. A very well measured performance of a complex character.

Sue Chaplin’s performance as Caroline was a class act, the gambit of emotions beautifully measured and totally riveting with this character who talked the most sense but against her better judgement was prepared to put up with almost anything to keep her husband.    

Chris Chaplin as James was probably the simplest character and happy with his double life little realising the havoc it was causing and then his lightbulb moment when he realised it all had to stop and it wasn’t in his best interest to run off with Pat.  

Gillian Wellings as Pat was both the put upon wife, with a drunk as a husband, and the mistress who is almost entirely self-centred, failing to see what harm her words and actions cause as her reaction to seeing Bill’s body confirms and her final scene ready to move on to pastures new.  A complex double act to carry off.

Clare Page as Annie supplied the welcome comedy in the script as she breezed into each scene, interrupting the deep conversations going on between the two couples. Nicely done.

I did find this show a little slow and ponderous at times and I felt it could have done with a bit more rehearsal as I wasn’t entirely convinced by some of the personal interaction between the characters, especially when struggling with remembering the lines. That said it was pretty courageous stab at Ross’s script and a very brave thing for a small society like AD-HOC to attempt. Most of it worked extremely well and now she has seen it staged will no doubt, like all playwrights before her she will be tweaking the scenes that need looking at.

So well done AD-HOC, you always surprise when I visit with thought provoking entertainment both in drama and comedy and are not afraid to take on projects which stretch you and for that I thank and admire you.
Finally thank you to Jude Smith and her FOH staff for their kind hospitality. Always a pleasure to visit.

© NODA CIO. All rights reserved.