Summer and Smoke

Summer and Smoke is not a play that is performed very often and I can quite understand this, as the play is very, very long. Maybe a few cuts could have been considered by the Director but I know from experience, just how difficult this can be.

Although this evocative play has a large cast it is really a vehicle for the two leads Alma Winemiller and John Buchanan.  Alma is played spectacularly by talented actress Cally Kline.  Being an American obviously helps out with the accent but she gave us a stunning performance all the way through the play.  Timid, lonely and definitely oversensitive she has known and loved John since childhood. At times I could see the tears in her eyes as she talked to John and the emotions she went through, showed each time in her face.  What a beautiful performance from this young lady whose talent shines through. We saw the strength, hope and desire felt in her performance.

George Deadman plays John Buchanan the surly young doctor who is trying not to step into his father’s footsteps; he gambles, drinks and enjoys sex with whoever he can find. George was superb in this very large role and totally believable.  With a superb accent and projection he was the spider to the fly, to young Alma, weaving his sexuality around her, urging her to let herself go and be with him.  John plays a deadly game as he also finds himself attracted to Rosa Gonzales (Holly Bird) the Mexican daughter of the casino owner Gonzales (Albert Horn) to whom he owes money, was being pressured into a forced marriage toRosa, to wipe out his debt.  Rosa is the total opposite of Alma, being sexually free. Her costume of a stunning black and red dress only emphasises her strong sexuality, offering John the sex he yearns for. Holly gave a good and sensual performance as Rosa.

Another character that I was glued to watching was Mrs Winemiller. This could have been a hard role to play and been overacted but Jenni Horn was super in this show. Williams describes her as ‘a spoiled selfish girl who evaded the responsibilities of later life by slipping into a stage of perverse childishness’ for me she was excellent giving the balance that was needed. 

Dr John Buchanan Snr (Rob Sadler) again gave us a very professionally acted character with beautiful projection, showing his love for John Jr, even though he was frustrated by his son’s obvious flaws. I did like the fact that he had obviously gone over his characterisation, going to the extra mile of having his hair cut, as would have been the style in the early 1900’s.

Rev. Winemiller (Les Chisnall) was the stern rigid minister and father, who Alma cares for and is obedient to. Although his character does not show much on the stage, he is important for us to see just why Alma is how she is.  Les showed competence and clarity of speech giving us a chance to understand the problems he has to face with his everyday family life.

Paul Reed as mother’s boy, Roger Doremus the beau of Alma was the  genteel, polite and undemonstrative young man who tries to woo her but to no avail.

The Wednesday night meeting group consisting of the interfering Mrs Bassett (Annie Simcox), Vernon the playwright (Elliott McMillan) who also played Dusty the waiter and Archie Kramer the salesman; Nellie Elwell (Eleanor Chandler) and Roger Doremus – all gave creditable performances, adding to the small town feel, having nothing better to do than pull each other apart.  The young children (Alice Power and Rhys Bryson) at the opening, showed great promise as the younger Alma and John while Val Taylor as the Elder Alma ends the show in a very sympathetic way.

Alma’s friend Rosemary was delightfully acted by Lea Friend.  Bubbly and happy she bounced across the stage with exuberance and charm.  My only bugbear I’m afraid is that she had left a nose ring in and definitely at that time young ladies did not frequent such things.  Also although the makeup department had tried to hide her tattoos these were still to be seen which was a shame.

The set was simple but effective with the stone statue of an angel in the centre surrounded by a half circle seat on plinths, with a working fountain.  On stage right was a brilliant red wall to denote the doctors surgery and the casino bar while to stage left the half organ and cross of the ministers house. A back walkway faced by muslin was also a clever use of the stage. The stage itself was covered in sand and all the cast were barefoot but maybe the director’s vision could have been better understood if an explanation had been added to her address in the programme??

Props and furniture were excellent, carried on by the cast, which made each transition quick and simple.  Lighting and sound were also good with a spot on the angel, while the fireworks scene and the star cloth at the back all gave us a feel of where we were at each given scene.  Costumes were suitable for the time period, with hats and gloves for the ladies and the use of muted shades for the whole cast apart from Rosa and the mother.

This was an excellent production directed by Alison Baker and I’m sure that everyone in the audience enjoyed the night as we definitely did.  Congratulations to all.

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