Tabitha

Many thanks to Bispham Castaways for inviting me to see their production of Tabitha. This review is based on the matinee performance on the 20th of April 2024.

Written by Arnold Ridley, Mary Cathcart Borer, this 3 act whodunnit, was the basis for the 1966 film ‘Who Killed the Cat?’ The story revolves around Mrs Trellington, who, upon her widowhood, rents out of her spare rooms to 3 elderly ladies, Janet, Lavinia, and Mrs Prendergast. We quickly meet their community doctor, Martin, Mrs Trellington’s stepdaughter, Mary, and a local jeweller Mr Fawcett. During act 1 we learn Tabitha, Lavina’s cat, is poisoned and that Mrs Trellington is the suspect. We also learn that as a landlord Mrs Trellington has some very unattractive and even tactless habits, helping herself to the old ladies’ little store of whisky and she chooses to put up their rents on Christmas Eve. The three ladies are roused in indignation and Mrs Prendergast plots to spike the whiskey with the same poison which killed the cat, which is plan the landlord will help herself, and if she drinks from it, well, isn’t it her own fault? When, a few hours later, Mrs Trellington is found dead, the old ladies stare guiltily at each other: but they are also mystified; for didn’t Lavinia and Janet relent and swap the whisky for another bottle? Or didn’t they? There is only one way to find out and find out they must for Mary, is now suspected of murder. After writing a full, if muddled, account of their part in the event, they drink the whisky themselves. Hours later, a puzzled detective inspector and a mystified young doctor find three elderly ladies genteelly sleeping off the effects of strong drink. But, brought back once more to sobriety, they can help the detective prove that Mrs Trellington accidentally poisoned herself during her nefarious occupations. 

Directed by Helen Findlay, the suspension and intrigue of the production were highlighted well as it was a constant guessing game as to who committed the murders. There was a steady pace to the production, although at times I felt as though a little more urgency could have instilled more drama, this may have been a result of uncertainty. There were some strong characterisations brought to the story, and there was an interesting use of staging, which varied through the show, adding visual intrigue.  

The set was in one setting, the lodging room of Janet, which was decorated naturalistically with nice detail added, including a functional payment operated gas fire, pictures on the wall which were referenced to by the cast throughout the production. All design elements, including set, props and costumes, hair and makeup were authentic to the piece, period, and situation. Lighting was a simple wash and there were some nice sound effects add. 

In true Bispham Castaways style, a full community feel was brought to the production through the cast, crew, and front of house team. It would be fair to say that there were differing level of experience and expertise within the cast, but nevertheless, they all performed to their upmost strengths and helped one another to unravel the story and instil the element of curiosity as to ‘Who killed the cat!!’ 

In order of the programme, Helen Bailey played Janet Bowering who played the role of a dithering dear well. When her confidence was strong, she commanded the stage and used wonderful use of visualisation. There was good attempted at verbalising internal monologue to help fill time when the lines went amiss, which further added to the understanding of the character.  

Martin Thompson played Dr Martin Brentwood who was strong in the role. He drove forwards much of the plot, speaking matter-of-factly and working through the plot and scenarios of the whodunnit methodologically. He gave a further dimension to the character by lifting his mood slightly when acting alone against Mary, which helped put both characters in the firing line when trying to unpick the story. 

Mary Prendergast was played by Suzanne McEachran who played the part well. There was a good energy and a nice bubbly feel to the character. I felt at times the part was slightly overplayed and more use of internalisation would have added to the character’s vulnerability, but I was certainly suspecting Mary as the murderer! 

Nicky Alladice played Mr Fawcett who played the role well. There was great chemistry between this character and the 4 ladies, which again, put the character as a potential suspect.  

Susan Hope played Mrs Ruth Prendergast who really shone in this role. She commanded the stage with a fabulous characterisation and did very well at bringing the story back to the point, through encouraging others to remember their lines whereby this was important to the narrative. She added depth to the character through internalised reactions, which added both insight, intrigue, and light humour, 

Debbie Flavell played Mrs Eleanor Trellington, acted with great gravitas and honesty. She carried the plot forwards within the scenes she was in and really stood out as strong for the short moments she was onstage. 

Carol Crump played Lavinia Goldsworthy, who gave significant efforts within the part. Her confidence was not as I had seen it elsewhere, which hindered the narrative slightly, and I wonder if this could have been helped through planting prompts onstage to serve as aide memoires for the next segment. Tatt being said, Carol has moments of hilarity with her sharp-witted puns. 

Ian Dodd played Detective Inspector Bruton well bringing strong charismatic energy to the third act. He drove forward this part of the narrative and helped the audience deliberate some of the previous notions as solving the murder. 

Finally, Dave Austin played Dr Brownlie and Sergeant, two small parts, but both played well and confidently. 

Thanks again to Bispham Castaways for the invitation and opportunity to provide this review. I have the upmost respect for this society and all that they do, constantly reminding me that theatre has its firm place within the community and it sacrosanct for all.

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