The Village Fete

This work by Peter Tinniswood started life as a BBC Radio play in 1987 and sparked five series of Winston's adventures between 1989 and 1994. Nancy is at the helm of the unhappy Empson family who, for the sake of Father's health, move to a small country village. Their new house is in a state of considerable disrepair, but they find that the local handyman, Winston, is keen to help them out. He breaks their resistance to him with his irreverent wit, gourmet cooking, free repairs and liberal doses of sexual advice. Gradually the family are transformed by his presence and Nancy, who has always been happy to solve their problems, finds herself without a role.

First time directors Jemma Waller and Liz Head-Rapson sensibly opted for a stark box set, furnished with just a few chairs, and allowed us to imagine the rest, just as we would have if we were listening to the play on the radio. This allowed the set to represent anywhere in the house or garden and focus was held by well-timed lighting changes, keeping the pace moving along despite the many scene changes

All of the principals maintained their characters well throughout. Pam Phipps made an excellent, strong Nancy, clearly used to organising her miserable family. I particularly liked the way she addressed the audience directly to explain her feelings, and her well-controlled descent into paranoia when she found herself without a role. Roger Mitchell (Father) was every inch the forgetful old buffer, constantly regaling anyone who would listen with his (very amusing) tales of his time in Colonial India and really giving the character life. Garry Hutchings as railway obsessed author brother William and Amy Gould, as the annoying younger sister Rosie, both gave very believable performances, clearly showing their transformation from miserable to happy under Winston’s influence, and William’s speech impediment was well maintained – never over emphasised. Toni Tovery played the arch seductress Mrs Godwin with real gusto and seemed to enjoy every nuanced taunt of William.

Central to the whole play is Winston, and Dene Woods owned the stage with him from his first entrance. He was helped by having some of the best lines in the play, but his comic timing, spot-on characterisation, facial expressions and costume completely brought Winston to life and made a rather unlikely situation totally believable.

I’m always impressed by the (deservedly) strong support this group receives from their audience – always a full house and a friendly welcome from the front of house people. It is heartening to see a smaller group thriving. This production can only enhance their reputation and I hope that directors Jemma Walker and Liz Head-Rapson will be encouraged by its success to direct again.

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