The Safari Party

This delicious comedy about a meal of three courses, with each course consumed in separate dwellings, was known to me, though |I had never previously had the pleasure to watch a production.   It must be said that it was a brave choice of play, especially in set building/ changing on a none too spacious stage and with three of the six players being extremely youthful.

Written by Tim Firth as recently as 2002 this undoubtedly enjoyable production made for a special evening in the lovely Barn Theatre, where I have seen many sparkling shows, plays, pantos and youth productions over the years.   It was imaginatively directed by Peter Shore, who was ably assisted by Amanda Stronge.

Opening with a basic box set of a room situated on a Cheshire farm run by two brothers, Adam and Daniel, very different in appearance, but played with superb individually distinct personalities by Robert Medhurst and Luke Grizzell respectively.   The brothers were almost penniless but Adam, in particular, did not lack for ideas to change their circumstances.   They had been left in charge of the farm when their father shot himself and both young players realistically showed the pressure and vulnerable state the brothers were suffering. I must say I was hugely impressed by both these fine young actors who both carried   distinct stage presence.  Enter the fray the formidable middle class couple Lol and Esther, newly arrived -in a sense- into the area and keen to find out about local history and acquire some locally made items for their comfortable home - in particular, a wooden table belonging to the brothers, about which table, much of the deceit and humour that made this play so laugh out loud funny, depended.  A fast pace was set in certain scenes with distinct elements of farce, though it would not be accurate to label this production itself as a farce.   Ali Morris did a highly convincing job with the snobbish Esther which was entirely matched in standard by the volatile, bigoted and golfing fanatic Lol, played by Bruce Christie.   Lol and Esther showcased many of the worst traits of middle-class snobbishness and had some of Firth’s best lines which they both relished and delivered with panache.

Firth’s invention of “Buttyball” was beautifully woven into the many deceits especially about the table itself from which the humour flowed so very well.  Esther’s daughter Bridget, another   character not always prone to being truthful, was well portrayed be Phoebe Sleeman, though on occasion her diction was not as clear it might have been.   The blood in the jug scene was hilarious and Daniel, who had drunk some blood by mistake, was particularly good in this wonderful scene.

Finally, after the main interval in this three-act play, we moved to the dessert scene at Inga’s outhouse.   Inga, an antique dealer, was played by Jenny Roe and I very much enjoyed her vibrant performance.

Diction in general, was distinct and John Chinnock on sound did his usual fine work.    Stephen Tickell on lighting did equally well and technically the production ran well, challenging though the three sets were for designer / builder Martin Beatty and his set building team.   Pippa Bridges provided entirely suitable costumes.   Stage manager Muriel Lister and her crew did good work with the three sets, in what was a challenging task, though they sailed through it with ease.   Muriel also did set dressing.

All ended happily, as the six players, now all friends played “buttyball” on the table.   I should loved to have joined in – if only the game actually existed.    Ah the joys of convincing deceit!

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