The House With The Lights Still On

THE HOUSE WITH THE LIGHTS STILL ON is a one-act play written by Compton Player, Pete Watt.  Having received an invitation, the Compton Players will be taking this show to the National Drama Festival.  It tells of a story – familiar to many – of the difficult situation that arises when siblings decide that their elderly father needs to move into residential care. The action takes place over one day and is in a single setting, his living room.   We see his two daughters packing up the house.  A third sibling, a son arrives later in the action.

The front of house staff were very helpful.  This was an evening of celebration launching the 80th anniversary year, the announcement of the Compton Players’ drama festival and two NODA awards being presented.

The programme was a very simple A4 folded twice, mainly black and white with the cover depicting the three main characters.   Inside there were messages from the Director and Writer, list of cast and crew, with colour photos on the back cover.    When the programme was folded out, on the reverse, there were details of the Compton Players’ own drama festival to be launched for 2027 and information about play readings and the forthcoming production.

 A simple set depicted Holden Grey’s living room with packing boxes, a chair and an impressive doll’s house.   There were ornaments, a toolbox, kettle, mugs, tea pots and photographs in frames.  The props played a huge part in the play – symbolising nostalgia: there being memories and stories associated with each item.    The only built piece of set being a piece of hand rail and one stair giving the impression of an upper floor.

The costumes were simple, practical, everyday clothes for all: casual clothes, jeans, t-shirts and a jacket for Holden.    

This was a poignant tale of family dynamics led by Brogan Amos as the elder daughter.  She was the pragmatic, pro-active and non-nonsense Jill.  Her younger, more wistful and less practical sister Rosie, was played by Naomi Read.  They were believable as sisters who knew where they were in the pecking order.   Eric Saxton, as the patriarch whose home was being dismantled, showed great restraint in his performance which was a masterclass in emotional simplicity as he quietly, but reluctantly, accepts the situation.   Paul Shave and Michael Sheperia had more minor roles in the family.   There were moments of reflection, fantasy, great poignancy and sadness in this thoughtful and thought-provoking drama which was directed by Jasmine Mullany.   Everyone involved – actors and supporting crew – combined to produce an evening of solid and powerful drama.

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