Trap for a Lonely Man

On arrival I was made to feel immediately very welcome with warm greeting and generous hospitality from the Front of House team on this opening night. My friend and I took to our seats, and we had a brilliant view of the stage and observed the awesome set design. The setting for the play was the interior of a remote alpine chalet near Chamonix, with a visual backdrop of snow and mountains that was impressive. An outside balcony with table and chairs could be viewed through the window, with a snowy pathway at the French door, the main entrance. Inside were what appeared to be timber frames and a set of stairs leading offstage, with another exit door opposite. The furniture, including a green sofa and chair, a drinks cabinet and fireplace, also appropriate, and all cleverly designed to make the best use of the stage. The set design, created by Stephen Ralph was breath taking, and together, with the support of the set build team and the on-stage artist, Sue Groves, the audience was convincingly transported to the French Alps for this evening.

The play is a psychological thriller, and the first scene opens with the man, Daniel Corban (played by Dominic Holmes), explaining the circumstances of the disappearance of his wife to a police inspector (Dale Roberts), who promised to investigate. The story then took a gripping turn when a priest, Father Maximin (Dave Brown) arrived, bringing a woman with him who he describes as the purported wife, (Francesca   Rees).  However, Daniel insisted he had never seen her before and protested that she was a total stranger, an imposter, but no one believed him. As the plot developed, Daniel became increasingly convinced of being undermined by a conspiracy against him by a gang. As the situation escalated, Daniel grasped at new hopes to prove he was the victim of a criminal plot and not mad. When Daniel and the woman were alone, it became clear that this was not his wife and that this was some sort of plot to obtain an inheritance, due to his wife. The Inspector, who never seemed to be in the right place at the right time, seemed sympathetic to the husband’s argument but the others removed or refuted evidence and witnesses. This clever three Act play certainly had intrigue with unexpected twists.

Director, Dawn Vigurs, had drawn on her extensive experience to secure necessary pace and high energy in each scene of this clever plot which helped to maintain the mystery and tension. This was an absorbing production, and we were kept wondering what the heck was going on to the very end. Key roles were suitably cast; the actors were believable, with each character masking a hidden agenda, and all so ably directed by Dawn, who did an amazing job of bringing this all together with the support from the stage manager, Heidi O’Connor.

Dominic Holmes is to be congratulated for his challenging role as The Man and worked hard to keep the lines flowing so naturally, being on stage for the entire length of the play. As an actor he displayed all the emotions of a distraught man, unwilling and unable to recognise The Woman who impersonated his wife. His growing anguish, disbelief, anger and frustrations, Dominic expressed so believably facially and vocally. Dale Roberts brought the role of police inspector to life, a rather ponderous character investigating the case of the missing wife, upholding the law and making clever deductions; Dale was well suited to this role and played the part with confidence and sincerity. Dave Brown stood out as the character of the priest with an ulterior motive so effectively; using shifty glances and movements which prompted suspicion and scheming.  Francesca Rees took the part of The Woman with cunning charm; her little looks and gestures suited her role, and she gave a polished performance. The artist, a disillusioned alcoholic painter, was portrayed delightfully by Alan Lowe.  Presenting himself as a well-spoken, polite,’ hippy’ tramp, he injected some light relief into this play, but this was all too brief as he was inconveniently killed off. Jill Simkin had the part of the nurse, who had tended the real Mrs Corban when she was sick. Jill conveyed this cameo role with effective characterisation, she wasn’t all she seemed, putting cash before truth.

The entire cast of six delivered some gripping performances but the production team too, excelled  artistically and technically in the entire design. Stan Vigurs’ lighting design reflected sunlight and evening glow onto the mountains presenting different times of the day and night. The interlude music, played in between Acts, as the curtain closed, rendered a sense of mystery as the main style of the play.

The set design was incredible, very professional; the play carefully well timed with mystery sustained to the very last moments of this well-chosen play.

Congratulations to Dawn and to the entire cast, who kept the audience engaged, and to the remarkable production team at the Fellowship Players. Thank you for inviting me.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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