Tons of Money

Swanage Drama Company’s second production this year most certainly lived up to its billing
in the programme notes as ‘a real tonic after the last couple of years’. Rehearsals were well
under-way when the first Covid lockdown struck, so the hiatus makes this thoroughly
enjoyable production all the more impressive.
Written by Will Evans and Arthur Valentine in 1922, and adapted by Alan Ayckbourn, Tons
of Money is a rollicking comedy set in an English country house. Directed with assurance
and aplomb by Brian Travers, and with a superbly lavish drawing-room set, the play contains
an array of delightfully eccentric characters, to which an extremely strong cast did full
justice. The talented ensemble skilfully set up the complex premise of Aubrey Allington, an
enthusiastic but bankrupt inventor and the owner of the country estate, trying both to
outwit his creditors and to inherit a family fortune, by faking his own death and
impersonating George Maitland, a long-lost relative, believed to have died in Mexico. The
energy built up gradually during the first act as plots were hatched and deceptions devised,
culminating in the explosion supposed to have killed Aubrey and setting the stage for the
fast-paced, multiple impersonations and farcical goings-on of the second and third acts.
Aubrey and his scheming wife Louise delivered a tour-de-force double act: he displaying,
with immense energy and bravura, a mix of arrogant entitlement, aggrieved indignation,
petulance and increasing desperation; she switching with consummate acting between an
apparently grieving widow, a jealous wife and an up-beat Lady Macbeth-like scheme rather
pleased with her own cleverness.
Another great double-act was provided by Sprules, the cheerfully insubordinate butler, and
the parlourmaid, Simpson, excitedly plotting together behind the backs of their master and
mistress. Henery, Sprules’ brother who also impersonates the supposedly-dead George
Maitland, and the real George Maitland who turns up unexpectedly, very much alive, were
suitably bemused and bewildered and confidently added to the farce. There was also some
lovely acting from the sharp-eyed, shrewd but somewhat deaf elderly spinster, Miss Benita
Mullett, wielding her knitting needles like weapons. Jean Everard, the shy, simpering wife of
George Maitland, was wonderfully portrayed, suddenly revealing depths of sexual passion
when her husband (actually Aubrey in disguise) seems to have returned; excellent too was
Chesterman, the cynical family solicitor, sprawling at one point in an armchair as if he were
the real owner of the house.

Particularly enjoyable was Giles the grumpy gardener, tending towards the monosyllabic but
very eloquent in body language and gesture. His appearances on stage may have been
relatively few, but he stole the scene whenever he did appear.
Although the comedy was driven primarily by character and plot, there were some
delightful touches of farcical business, with mistaken identity, secret code hand gestures,
improbable impersonations involving dodgy disguises (Aubrey, Henery and the real George
Maitland all wearing identical false bushy beards and Mexican ponchos and sombreros) and
plenty of rushing in and out of doors. The farce was expertly blended by the director with
the rest of the action, and judiciously used to help maintain the pace of the piece. Combined
with the great set, lighting and above all acting, it all made for a thoroughly enjoyable
evening.

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