The Spitfire Girls

Having followed Colin Astley’s playwriting career since his debut with The Park Bench in February 2012 I have been waiting with anticipation for his latest play The Spitfire Girls, it was well worth the wait. Although the leading character was based on a real person, all the other characters in the play and their story came from Colin’s imagination. But his research was very good with actual events, well remembered by many in the audience. The real names of places peppering the tale were certainly nostalgic to me as a Bristolian brought up in Whitchurch who, as a child, flew from the airport in 1954. The Spitfire Girls celebrates the unsung women of the Air Transport Auxiliary (ATA), the only women allowed to fly aeroplanes during the Second World War. The play was set in a small hotel in Berkshire between December 1942 and September 1944 and tells the story of three young female pilots and their highs and lows in wartime Britain.

A single set represented the interior of a small 1940’s hotel, with reception desk, a seating area and a dining area. It was clean, bright and painted and wallpapered in muted shades which gave an authentic feel to the period. The set design and placing of furniture allowed maximum opportunity for good placement and movement of the cast. The stage furniture and props had all been carefully chosen with reference to the period, from the telephone to the crockery and the gas masks to pictures on the walls.

The lighting was good… there was no obvious need in the story for any light or shade in the lighting as it was always daylight or inside in the evening and that’s what we got. The table lamps were a nice addition. The sound was good, the excellent diction and quality of the sound system meant we could hear every word. The addition of recorded music from the Glen Miller orchestra, before and between scenes, added atmosphere and was an excellent choice.

I was impressed with the authenticity of the costumes. I remember my mother wearing those dress style with a cardigan or short jumper. The wardrobe team had obviously done ‘their homework'. The uniforms were excellent. The RAF uniform appeared to be quite accurate and I guess the ATA uniforms of the girls were accurate right down to the embroidered badges. Not the most flattering for the ‘girls’ to wear but absolutely right for the play. Real effort had been made with the ladies hairstyles, I loved Diana’s snood effect and the waves and curls of the others were perfect. Makeup was just right for the period and the lighting, but I found Desmond’s drooping moustache distracting, I envisaged it getting in his food as it was so long! I think he wore it this way to create an air of mystery about a ‘government official’ (we never really found out who he was), but with the moustache he presented a caricature, rather than a real person. Freddie’s facial ‘tan’ in the final scene was a bit extreme and added nothing … when adding a tan don’t forget the neck and hands if they are visible… and they were!

This was a very engaging story, particularly for those of ‘a certain age’. It provided nostalgia, moments of laughter and tears and was a carefully drawn piece of theatre. As the author and director Colin Astley had selected his cast carefully. I hope he felt they lived up to his expectations. I think they would have! In the writing the characters were well defined during the first scene, enabling the performers to then create the emotions, tension and drama necessary in the rest of the story.

Placements were perfect on the stage and the pace of the dialogue just right.  Entrances and exits were good and I particulate like the stage left exit going upstairs… it appeared just right for a hotel.  The opening and closing sequences with the elderly Eve were inspirational, and granddaughter ‘Eve’ was a delightful touch (did she have a name, I can’t remember). There was strong direction throughout from a director who knew this play intimately and I congratulate you Colin.

Every performer had obviously researched their character (with help from the director I’m sure). Therefore as an audience we mostly saw real people not performers. The hotel was set in Berkshire, but we saw a wonderful Bristolian performance from Ethel the cook/housekeeper. I suppose the necessary closeness of a pilot training school meant the play couldn’t be set in Bristol, although numerous references to Whitchurch Airport led me to think it was set, but some of the dialogue and flight plans of the lady pilots led me to think it was set elsewhere.

Janet Griffiths as Eve Wilkinson brought her undoubted talent and years of stage experience to this cameo role. I immediately understood where the play was going and loved the ending. Sam Herbert as Eve Le Clerc was confident as she took this huge role and made it her own, quite lovely throughout. Rich MacPherson as Freddie was handsome, smart and portrayed a young pilot officer with youthful arrogance and eventual charm. It was easy to see why Eve fell for him so easily.

Janet Astley as Diana was lovely in her performance. All the emotions of being separated from her husband and the danger of her subsequent mission were exposed and her diction and perceived ‘British’ pronunciation made this performance very enjoyable. Suzanne Brown as Celia performed this role with empathy, often in a supporting role to the other performers and their trials and tribulations. She portrayed her growing affection for Desmond realistically and totally in keeping with the 1940’s setting.

Holly Wyatt as Hette performed a very convincing role in this complex, understated affection for Eve, which slowly became obvious. This was difficult to portray in a 1940’s setting, but it was well done and very convincing. Verity Huntley as Isabel had all the opportunities for fun and humour and certainly made the most of it. Cleverly performed, she managed to achieve a real ‘posh’ character without going over the top.

Dan Westley as Desmond had rather stilted 'British' pronunciation to begin with, but warmed as the story unfolded. Pam Pummell as Ethel had a gem of a cameo role. This Bristolian character was amazingly funny, with perfect timing (I had an aunt just like you). She looked and sounded just right for the part.

I really enjoyed this latest offering from the pen of Colin Astley and I enjoyed Portishead Productions interpretation of the play. This was again a thoroughly entertaining evening, a new play with your usual very high production values. Great hospitality as usual, best wishes to you all

© NODA CIO. All rights reserved.