The Real Inspector Hound & Black Comedy

Frodsham Players were back at Frodsham Community Centre for their double bill of Tom Stoppard’s ‘The Real Inspector Hound’ and Peter Shaffer’s ‘Black Comedy’, both directed by Carole Shinkfield, with assistance from Carrie Bennett-Brown. Both plays were performed on the floor in front of the stage for the main. Some of the action in both plays took place on the stage itself. The main challenge here was the transformation of the set between both plays, which happened during the interval. It was a big transformation, with both sets being fit for the purpose of both plays. Hats off here to Chris Burrows for his set construction and design, ensuring that both worlds could work together in the space.

Technical aspects of this production were good over the course of the two plays. The lighting design for ‘The Real Inspector Hound’ was a general wash over the playing area, with a spotlight picking up the two critics. The lighting was cued extremely well during ‘Black Comedy’, which was essential for the piece to work. The dimming of the lights as matches, candles and lighters were used was expertly done. The sound effects used were cued well and at a good volume, especially the radio in ‘The Real Inspector Hound’.

The evening started with ‘The Real Inspector Hound’. In this play, Tom Stoppard parodies the conventional Agatha Christie style thriller, setting it in a play within a play with two critics who become embroiled in the action. On paper, it sounds very confusing, but through Carole’s direction it was very clear to the audience what was happening. There were great comic moments throughout with the wordplay and the obvious dead body, which was ignored for the most part of the play by every character. There were a few moments where an injection of pace could have been beneficial, especially during the opening moments of the play within a play. Costumes were good. The two differing looks of the critics worked well, as did the costumes of the rest of the characters.

David Varley played Moon. David looked every inch the new age critic with his black turtleneck. His jealousy was well played through his speeches, which he delivered with conviction. The bewilderment of seeing Birdboot become involved with the play, and subsequently his own involvement, was wonderful to see, adding to the comedy and general chaos of the play.

Jac Wardle played Birdboot. This was a convincing performance from Jac, as the critic only interested in the actresses he fancies. The gentle baiting of Moon was well played by Jac, as he slowly began to bother Moon. His sudden involvement with the play was executed well, and his reaction to kissing Cynthia (who he had been eyeing up) was excellent.

Martina Keith-Stewart played Mrs Drudge. This was a competent performance from Martina, helping to set up the premise of the play within a play. Martina did well with the comic moments of the character. There were a few instances where she needed to increase her volume to ensure the audience could hear everything in this wordy play.

Ian Lancaster played Simon. Ian played this part with charm, as the debonair Simon. Ian looked the part and maintained his accent throughout. The chemistry between Ian and Clare was there, and there intimate moment was played for full comic effect.

Emily Earps played Felicity. This was a delightful performance from Emily as the scorned lover. She worked well with the rest of the cast, especially in the card game, delivering her lines with great comic timing.

Clare Prebble played Cynthia. Clare looked every inch the lady of the manor, and parodied this character well with her accent. The repetition of the scene was well played by Clare, ensuring that she kept the same blocking. This was an enjoyable performance.

Martin Stockdale did well as Magnus. Martin was secure in what he was doing and used his voice well. There were a few moments where Martin delivered his lines direct to the audience, especially the revelation at the end of the play. This didn’t feel in keeping with the rest of the performance.

Seb Farrell breezed into the space as Inspector Hound, bringing energy and laughter to the piece. The pace ramped up with Seb’s appearance and his interplay with the other characters was perfect. This was a very good cameo performance from Seb.

A special mention to Warren Mortis for his convincing performance as The Body. He was totally in character throughout, and he did not move a muscle once. Outstanding work!

Following the interval, the set had been transformed ready for ‘Black Comedy’. The bedroom was situated on the stage with a door frame stage right. A new set of stairs had been set leading to the stage from the main acting area. A curtain had been hung across the entrance stage right and the acting space was populated with appropriate furniture and art, including the golden Buddha and Brindsley’s sculpture. There was a stark contrast to both sets of furniture. This play was very much centred on physical comedy and slapstick, and there was much to enjoy throughout. The cast fully committed to the premise of the piece and this was conveyed well to the audience through Carole’s direction. Costumes for this play were good, transporting the audience to the sixties. From Brindsley’s garish shirt and tie to Clea’s sixties dress, there was much to admire.

Andrew Wilson played Brindsley Miller. This was a confident and assured performance from Andrew. Andrew’s physical comedy was very good, especially as he was moving the stolen furniture back to Harold’s flat. He was fully invested in the nature of the piece, as he felt his way around the set.

Zoe Edwards impressed in her first production with Frodsham Players as Carol Melkett. Her vocal delivery was strong, and she created a good partnership with Andrew. Her initial innocence was played well, and the change in her character was nicely handled by Zoe, adding to the comedy of the piece.

Sue Southern played Miss Furnival. This was a delightful performance from Sue, with moments of pure comic joy – her shrieks when she was bumped into and her progressively getting drunker. Sue’s physical comedy was also great, with her getting lifted up on the chaise longue, before getting wheeled out on it.

David Leslie played Colonel Melkett. David is a stalwart of Frodsham Players, and it is always a delight to see him on stage. Here, he was suitably regimented as Colonel Melkett. He was able to show his disdain towards Brindsley, and added to the physical comedy of the piece. Getting tangled up in the lamp wire whilst on the rocking chair was very funny.

Ian Lancaster was a delight as Harold Gorringe. He was sharp and biting as he threw insults to other characters. The friendship that was developed between Ian and Sue was sincere and believable. There was many a comic line that Ian delivered with aplomb.

Rosie Hannah-Wilson played Clea. This was a lovely portrayal from Rosie, who made great use of her facial reactions to show the audience exactly what the character was thinking, and plotting! The characterisation as the maid was great, adding to the comedy of the piece.

David Varley played Schuppanzigh. This character was a nice contrast to the one David played in ‘The Real Inspector Hound’. David’s accent was great and he sustained it throughout. His description of the sculpture was great, and he delivered the punchline spot on.

David Copley played Georg Bamberger. David was clear in his diction and had great projection. He was able to maintain the accent, and sounded eerily like David Varley, which certainly helped with the mistaken identity.

Overall, this was a very good production. The transformation of the set was clever; there were some great comedic moments; and there some strong performances.

Thank you to Frodsham Players for their kind invitation and hospitality.

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