The Shell Seekers

I have not read the book, seen the film or been to a stage performance of this play so, other than an outline of the story and characters gleaned from my preparation homework, I came to the theatre with a completely open mind ready to be entertained.  I was not disappointed. This was one of Rosamunde Pilcher’s most famous novels and, together with the reputation of St Austell Players, had drawn a large audience of loyal followers, most of whom were of the older age group, and many, I suspect, will have been familiar with the book. I wondered how they would view this interpretation of the popular classic they knew and loved so well. With our different expectations we sat awaiting the start of the performance, the third of a week’s run.
The tabs were open, giving us time to absorb the set and recognize that this was not to be a realistic box with fine detail filling the stage. It could not be, given the number of settings required, and the simple black drapes with a sketchy representation of each scene was perfectly suitable and acceptable. We saw the outline of an ivy-clad conservatory with appropriate wicker furniture, and on one side of the forestage a cosy rocking chair with telephone table and on the other a table and chairs, telephone and a picture – not The Shell Seekers! Clever use of lighting throughout followed the action as it moved between these areas.
Even 10 minutes before the official “curtain up” movement on stage caught my eye and there for a few brief minutes was the ‘housekeeper’ polishing the glass of the conservatory. I continued to read my programme learning that the action would flit between the 1940s and ‘80s so, when Vera Lynn’s evocative voice signaled the start of the performance, taking me straight to the war years, it was only slightly disconcerting to find the opening conversation taking place in the ‘80s. But I quickly became absorbed in the story of this family and had to remind myself I was here to provide an objective report!
The Director’s Notes told me that 12 settings were required… did I get them all? The conservatory, the restaurant, Nancy’s home, the artist’s studio, the gallery, Olivia’s home, the party, the beaches in Ibiza and Cornwall, Lawrence’s home, a street or streets in Cornwall, …mmm, not quite! I was impressed with the speed at which the transformations took place and only in one or two instances did we see a scuttle of stage crew or witness a surreptitious hand pushing on the late arrival of a prop. The crew certainly kept busy with all the changes.
The lighting was impressively crisp, with convincing blackouts on the unused sections of stage and effective pools on the various acting areas, although the wide brimmed hat worn by Penelope cast a deep shadow on her face in one scene. The use of sound effects to help create the atmosphere of the different scenes was, for the most part successful. I did find that occasionally they were inappropriately loud and stopped rather suddenly and for no reason. For example, the seagulls when we were on the beach could have been continued throughout as a subtle background to the scene, but instead, silence, they must have flown away halfway through.

The costumes helped to move the action across the time span of the play and also to aid our understanding of the characters: The rather Bohemian Penelope of today contrasting with her slightly more prim younger self; poor dowdy Nancy with her homely George, showing a contrast with the sharp Olivia. We had a uniform changing Danus, the gardener, into Richard, the dashing young soldier and I confess to having insufficient knowledge of uniforms to know whether this was genuinely correct garb for an army major of the period, but he looked very smart. I’m sure some of the audience would have known so, wardrobe ladies, your efforts were not in vain. Following observation at dress rehearsal perhaps Penelope’s floppy hat could have been pinned back off her face (see notes on lighting).
Props were kept to a minimum and were well handled – lots of drinking going on, with wine bottles, brandy, whisky and decanters and different glasses for each situation, plus secateurs and a real garden trug. I did find one jarring note in Olivia’s pink handbag, which was so obviously empty, folded up as it was at the bottom (and I’m not sure she’d have had a plastic handbag!) At least open it out if you don’t fill it with stuffing! I liked the use of a huge umbrella to cover the conservatory furniture when we were on the Cornish beach. We saw a real artist’s easel with canvas but, interestingly, never had a glimpse of the eponymous painting itself, despite the depiction of shell seeking children on the programme cover. I can live with that, though. 
I was surprised by the comedy element to this play (I hope this was intentional!). There were several instances when the audience showed their appreciation of this; some of George’s asides being key points. It was a shame that in the final scene Antonia was pushed so far into the wings as to be almost behind the tabs, but this is not all down to blocking. The cast members need to be able to find their own space – and there was space. Only now and then did I get the feeling that some scenes were going slowly, lacking energy and pace, and so it is hard to see where the company could have pulled back some time, but pulling back time this performance did need. Two hours and fifty minutes is too long for almost any play. I could not believe that I stood up at 10:50 pm and have to wonder why an 8 o’clock start was decided upon. Even starting at 7:30 we’d have been there long after 10 o’clock, which is pushing it a bit despite our being keen to follow the story to its conclusion.
Although I have made a few critical observations I hope I have not been unfair and that future productions will benefit from the lesson to be vigilant in using rehearsal time to get on top of words (well done to the discreet prompt), energy and drive, and dress rehearsal, often the only time the backstage team has to check props and costume, to make the corrections necessary for a spotless performance. Having been warmly welcomed at the door, thank you, Tony, and well looked after by the bar staff, thank you, I enjoyed my evening in your company and have benefited from having my education broadened with knowledge of this famous story. Thank you to you all.

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