The Brittas Empire

On arrival we were greeted by the lovely front‑of‑house team, whose warmth and enthusiasm immediately set the tone for the evening. The stage was already open to view, and this choice created an instant sense of curiosity. The set was remarkably detailed, capturing the essence of a slightly outdated but well‑loved leisure centre. From the reception desk to the office door, every element felt intentional. I’ve always enjoyed an open set before a performance begins; it invites the audience to explore, to wonder, and to anticipate the chaos that is about to unfold. This production used that anticipation well.

Direction by Shirley Wilkins was thoughtful and confident. She clearly understands the rhythm and absurdity that The Brittas Empire demands. Many of the comedic moments landed beautifully, and the cast’s physicality, particularly in scenes of escalating confusion, was shaped with care. Entrances and exits were handled creatively, especially the decision to place Gordon’s office stage left, which gave the production a strong sense of geography. There were, however, moments where the pacing of dialogue dipped, particularly in longer conversational scenes. A touch more variation in pitch, tone, and tempo would have kept the energy consistently high, especially toward the latter half of the play. Still, the overall direction demonstrated a solid grasp of farce and character‑driven humour.

Lighting and sound, designed by Chris Bulpitt, were executed with precision. Every cue landed exactly where it needed to, and although the society may not have access to an extensive lighting rig, the stage was lit with clarity and intention. Characters were always visible, and the atmosphere of the leisure centre was maintained without distraction.

As the lights rose, we were immediately immersed in the bustling, slightly dysfunctional world of Whitbury Newtown Leisure Centre. The first character we encountered was Carol, the eternally frazzled receptionist whose personal life is forever spilling into her professional one. Jenny McKenzie captured Carol’s essence with delightful accuracy. She commanded the reception desk, her own miniature stage, beautifully, using it as both a physical and emotional anchor. Her comedic timing was sharp, and she balanced Carol’s sweetness, stress, and scatterbrained charm with ease. Every time she re‑entered the scene juggling yet another personal crisis, the audience responded warmly.

At the centre of the storm stands Gordon Brittas, the well‑meaning but catastrophically incompetent manager. John Wilkins delivered a performance that was both faithful to the original character and uniquely his own. His dry humour, clipped diction, and unwavering commitment to Gordon’s misguided sense of authority were consistent from start to finish. John’s physical mannerisms, rigid posture, purposeful strides, and oblivious confidence, added layers to the comedy. He never once broke character, even in the most chaotic moments, which only heightened the absurdity of the situations unfolding around him. Alongside Gordon is his long‑suffering wife, Helen Brittas, played with nuance and flair by Julie Splaine. Helen is a character who oscillates between calm resignation and simmering frustration, and Julie captured this duality with impressive control. Her tonal shifts, from polite, composed wife to exasperated, near‑breaking‑point partner, were some of the most engaging moments of the evening. Her scenes added emotional grounding to the play’s chaos. One note: real glass on stage is never advisable, and its use here felt unnecessarily risky.

Colin Weatherby, played by Jonny Heslop, was a standout. Colin is one of the show’s most eccentric characters, a well‑meaning but catastrophically unhygienic maintenance man and Jonny embraced every oddity with gusto. His physical comedy was good, from awkward shuffles to oblivious gestures, and he brought a warmth to Colin that made him strangely endearing. His interactions with Gordon were particularly enjoyable, highlighting the contrast between Colin’s earnestness and Gordon’s misguided leadership. Jonny’s ability to maintain Colin’s peculiar charm without tipping into caricature was good. Tim Whistler, portrayed by Ethan Wilkins, brought a refreshing energy to the stage. Tim is often the voice of reason amidst the madness, and Ethan played him with a grounded sincerity that balanced the more exaggerated characters. His reactions often subtle, often exasperated added a layer of realism to the production. Ethan’s chemistry with the rest of the cast was strong, and he handled the comedic timing with confidence. His presence helped anchor scenes that might otherwise have spiralled too far into chaos.

Laura Lancing, played by Beth Hyde‑Wilkins, offered a calm, composed counterbalance to the surrounding disorder. Laura is one of the more level‑headed characters in the leisure centre, and Beth portrayed her with poise and clarity. Her delivery was crisp, her stage presence assured, and she brought a sense of professionalism that contrasted nicely with the more frantic characters. Beth’s performance added depth to the ensemble, and her scenes helped maintain the rhythm of the play.

Gavin Featherly, played by Andy Ramsden, was another strong addition to the cast. Gavin is earnest, eager, and often unintentionally funny, and Andy captured these qualities with charm. His interactions with both staff and customers were consistently entertaining, and he brought a youthful enthusiasm that lifted several scenes. Andy’s portrayal struck a balance between sincerity and humour, making Gavin a memorable part of the production.

Overall, this production was a lively, affectionate tribute to a much‑loved sitcom. The cast worked well together, the direction captured the spirit of the original series, and the technical elements supported the storytelling effectively. While there were moments where pacing could have been tightened, the heart, humour, and commitment of the performers shone through. It was clear that everyone involved cared deeply about bringing The Brittas Empire to life on stage, and the audience responded with warmth and laughter throughout the evening, I look forward to seeing you all again soon.

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