Tom Stoppard's The Real Inspector Hound

Using modern technology screening action between two critics from the front centre seats, was an interesting feature of this extremely complex play within a play – a whodunnit written in the ‘60s by Tom Stoppard.

James Hanaway bravely took on the challenge of Director and also performing mysterious philanderer Simon Gascoyne, supported by fascinating characters – actors being actors, a madman on the run, two critics vying for position - with chunks of convoluted dialogue, one ‘respectable’ Birdboot who fancies the actresses and eats chocolates with Moon desperately wanting to be first string critic who’s standing in for Higgs (who actually is the first dead body). There are more shootings, a Sherlock Holmes lookalike, a wheelchair bound, with multiple identities Major Magnus who gets up and walks, wears a moustache that he rips off announcing he’s the real Inspector Hound, and Mrs Drudge, wonderful maid, flicking her feather duster and negotiating a wheelie trolley, who pours with an amazing action, moves a chaise longue with aplomb, to cover a body which is set on stage from the onset. Before Moon’s death he realises the man playing Magnus is none other than Puckeridge, critic third in the pecking order and the whole play was a scheme to kill off Higgs and Moon so he could rise to number one, but outside the play within the play he’s the murderer on the run and Magnus/various identities shoots Moon!

The set was beautifully designed by Dinah Chamberlin and constructed by Bernard Beardsmore, Jack Dale and Maurice Wilkins. With props gathered by Laura Larkin. The country house drawing room was set with a telephone table and standard lamp down stage, behind an angled arch topped French windows opening into a garden – perfect for fog effects entries/exits, angled grand fireplace, finished with ornaments, paintings, tiered cake stand, good fire with rug in front etc. Chaise longue cleverly designed with a pelmet, card table, desk at the back plus the moveable trolley.  Indeed, a perfect setting for a murder mystery. Stage crew headed by Jez Druce worked quietly, with lighting managed by Elly Hill and Rachel Croft Golding with Penny Tobin at the sound desk making wonderful noises at appropriate times. The costuming worked very well, who’s for tennis ideal, the sleek evening dress, the country deerstalker/Holmes look, the housework Mrs Drudge look, then serving outfit - loved the placing of the maid’s cap and the slightly wrinkled stockings!

Easy to handle and read, the A5 programme was designed by Lee Hatcher, with the exceptional photographic display in the foyer always of interest, but this performance not as well supported as one might have hoped. It was good to see Thursday’s performance was being signed by Laura Goulden, made possible by the Co-op Community Fund and support of local residents.

First timer performing, James Harper tackled an entirely new venture and congratulations to him for this was difficult dialogue and to Leon Chambers as Birdboot a large character pairing with James working very well together – maintaining characters facing the main set and sitting knowing you could see yourself on screen is no mean feat. Jo Reader became the lady of the piece, suitably plum, poised, whiz at cards and elegantly dressed, Vicky King was the convincing tennis playing spurned Felicity, with Angela Woodcock as Mrs Drudge stole the comedy for me brilliantly.  Geoff King multi characterised and surprised us all, Mark Cheeseman played Inspector Hound who disappeared, and James Hanaway became a beautifully spoken perfect cad Simon. Much good timing with comedy laughs, intriguing and confusing. A late start time, an unusual interaction of characters with the audience in the foyer and no interval certainly gave a twist to this play. 

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