The Good Life

To people of my generation “The Good Life” was a staple of family viewing – the story of giving up the rat race and throwing yourself into self sufficiency was revolutionary for it’s time but from that time onwards, was often the subject of many bucket list conversations and pipe dreams. Phil Johnson’s production for Enville Street Dramatic Society bought the iconic characters faithfully back to life much to the audience’s appreciation. The limited stage space available was very effectively used to feature the houses of the two neighbours – the Good’s kitchen and the Leadbetter’s lounge were displayed in all their 1970s glory.

Simon Cooper as Tom Good superbly demonstrated the enthusiasm and keenness for every aspect of his newfound mission in life.  This complemented exquisitely the razor-sharp comedy timing and irreverent outlook on life of Carey Esthop’s Barbara. In contrast, Sandra Harrold and Christian Jones’ Margot and Jerry had the snobbish and won’t-say-no Margot battling unerringly with the hen-pecked and laid-back Jerry played to great effect and successfully extracting laugh after laugh at their antics.

Our main protagonists were ably supported by a stellar cast of characters including a suitably pompous Sir Andrew, Tom and Jerry’s former boss, played with just the right amount of indignation and exasperation by Andrew Potter; Sally Kent demonstrating her versatility by playing several roles, namely Margaret, Sir Andrew’s Secretary, bringing a sense of normality to Felicity, Sir Andrew’s wife and respect as Dr Jo; Steve Brain’s Harry, the Pigman, gave rise to an excellent comedy performance albeit briefly and an even briefer appearance as the Policeman; not forgetting enjoyable cameo performances from Rebecca Dalloway as the milkwoman and Chris Porter’s Mary, the receptionist – not forgetting Geraldine the Goat’s star appearance in cut-out form!

Some of the comedic episodes were on occasions, a little drawn out, through no fault of the director or cast, more in the writing and I believe would have benefited from a little tightening up, but director’s hands are tied with the prevailing licence conditions. Lighting and Sound were in the safe hands of George Deeley and Tom Ruff and not only was it Phil Johnson’s directorial debut, but he also found time to perform the role of Stage Manager with great efficiency aided by Assistant Stage Manager and Set Build Lead, Kev Pritchard.

My grateful thanks to everyone at Enville Street Dramatic Society for their warm welcome, their kind invitation and for the pleasure of a thoroughly enjoyable evening.

© NODA CIO. All rights reserved.