Three 1-Act Plays

The benefits of laughter have long been recognised — who doesn’t feel better after a proper, full‑bodied belly laugh? I certainly did, thanks to each of the three plays performed.

The Best Medicine

Written by Kathryn West • Directed by Ken Roberts

Set in a community centre, this charming piece introduces us to Bubbles (Rhiannon George), the frazzled founder of a new laughter‑yoga venture, Bubble‑R‑Us. Her personal life is unravelling faster than a dropped ball of wool, and her hopes of professional salvation aren’t helped by the fact that nobody seems to understand what her business actually is about.

Her first “class” attracts only three women — and none of them meant to be there.

• Kim (Alison Roberts), perpetually overlooked, is searching for the upholstery class.
• Deb (Rachel Southgate) is a walking hazard zone who wants “ordinary yoga”.
• Sheila (Chris Hobson) is recently widowed and requires the life‑drawing class.

Yet somehow, these four mismatched women form an unlikely circle of friendship, confession, and support — all without doing a single minute of laughter yoga.

Running throughout are increasingly absurd phone calls about bubble‑themed services, each one pushing Bubbles closer to the brink. Deb’s deadpan explanations for her frequent A&E visits become hilariously, increasingly, preposterous. Sheila brings a gentle melancholy, and Kim’s transformation from background wall flower to unexpected powerhouse is delightful — especially when she finally snatches Bubbles’ phone and gives the caller a piece of her mind.

The humour lands beautifully, and all four performers deliver warm, engaging character work.

A Spy With A View

Written by Robert Scott • Directed by Alison Roberts

We move to a Spanish hotel room where David (Ken Roberts) opens the play with a very British complaint: the weather. It’s “persistently precipitating”. David is a man of bluster on the outside but inwardly insecure, while his wife Vicky (Rachel Dobb) provides the calm, sensible counterbalance.

When a hotel employee (Joel Robb) bursts in and hands David a mysterious briefcase “meant for him”, David spirals into paranoia. The contents — a collection of spy paraphernalia and a Mission‑Impossible‑style recording — only fuel his hysteria. Vicky remains unflappable, the eye of the storm.

The play ends with a twist I won’t spoil, but Ken Roberts’ portrayal of the tightly wound David is a joy, and Rachel Dobb’s steady, dryly amused Vicky is the perfect foil.

I Now Pronounce You

Written by David Titchener • Directed by Esther Poulus

This lively comedy follows three men attempting to plan a double-wedding on the cheap. Eddie (Gary Butler), a Del Boy‑Esque schemer, teams up with the well‑meaning but muddled Big Chris (Simon Wolfenden) and Maureen’s son Jono (Joel Dobb), who is torn between loyalty to Eddie and obedience to his mother.

Their solutions for venue and transport are… let’s say “creative”. But the real chaos begins when Eddie suggests Jono enrols on a course run by the highly questionable “Church of the Rising Goat”, which supposedly will give Jono the power to officiate at weddings.

Naturally, everything goes spectacularly wrong. Jono manages to marry Eddie to Big Chris and Trudy (Lisa Butler) to Maureen (Rhiannon George). The police (Tom White) arrive to announce that the “church” has been exposed as a scam — and our hapless heroes are next on the arrest list.

Gary Butler’s portrayal of Eddie was very enjoyable. Simon Wolfenden as Big Chris was marvellous, his facial expressions whilst trying to work out what Eddie was suggesting added much hilarity. Joel Dobb gave a very convincing performance of someone who had conflicted loyalties, and which ended badly. I felt that the two “brides” never really had a chance to develop their characters due to being introduced so late in the play.

Overall Impressions

All three plays were well presented and cleverly directed, especially considering the small stage area. The pacing suited each scenario perfectly, and the comic timing was spot‑on — not a single gag was lost on the audience. A few prompts were needed here and there, but they didn’t disrupt the flow.

Lighting was simple but effective, scene‑change music was well chosen and often poignant, and props were used thoughtfully (though the Rising Goat paperwork could have been held a touch higher for audience visibility). Costumes were appropriately contemporary.

These three pieces complemented each other beautifully, creating a thoroughly enjoyable evening. Congratulations to the Players for wonderful entertainment, plus the interval cakes looked delicious.

 

© NODA CIO. All rights reserved.