Triple Bill of Funny Plays

The challenge of a one-act play is always daunting – you have a much less time span to engage with your audience in making sure that every minute counts, you have to be on top of your theatrical game to get that instant recognition of what you are doing – you do not have time to hang about labouring a point as you need to move on.  The audience had no need to worry about such matters in their evening of “A Triple Bill of Funny Plays”. Talent and expertise were proudly on display and a joy to watch.

The evening opened with director Sue Portsmouth’s “The Last Tango in Little Grimley” by one of amateur theatre’s holy grail of authors, David Tristram.  The setting is a familiar one for the world of amateur theatre – the prospect of a failing theatre group and what they can do to get the audiences back and secure their future.  They have a membership of 4, all characters who want to see the company thrive but all in different ways.  Chairman, Gerry, played with real relish by Richard Delahaye seizes his moment counters all arguments to the contrary by announcing that there is only one that is going to get the bums on seats and that is …Sex! He has an idea for a play featuring the behind the curtain antics of local residents – it will be sure to have them flocking in.  The leading lady – Alice, played with a superiority and self-assurance of the diva by Lee Knight, is somewhat unsure but also strangely intrigued by the premise. Bernard, the redoubtable yet opinionated set builder and stage manager, Bernard, played with suitable exasperation and ‘jobsworth’ by Bill Heeks and Ruth Cattell’s lovable Patsy, “I used to be indecisive but now I’m not so sure” is fully behind the project – until someone changes her mind. This was a tremendous choice as an opener for a comedy play evening and was brought of with great effect by excellent timing and four very safe pairs of hands as well as Sue Portsmouth’s confident and insightful direction.

The premise for the second play of the evening, Robert Shearman’s “White Lies”, on paper is quite simple. A young couple both engaging with the same invisible character! Once you get your head around that you then utterly appreciate the skill and mastery of a highly complicated and intriguing situation that has to be so sincerely played otherwise it would fall flat on its face. We need to have no worry on that score with Chrissy Smith and Oliver Smith playing husband and wife, Claire and Simon. Roger, the imaginary friend is never seen, although there are times as you get embroiled in the scenario and with deft playing by Claire and Simon, that you are convinced that he is real. It is the strange juxtaposition that the interactions between the couple when Roger isn’t there seem to be the more unbelievable as their insecurities come out.  Intertwined throughout are some great comedy moments reinforcing the ludicrousness of the situation. This is a mammoth undertaking in the one act play cannon and Director, Seg Smith, meets the challenge and some. A tremendous team effort!

Meanwhile, for the third in the triple bill we ae back in familiar ground for those involved in the amateur theatre movement. We are cleverly reunited with our friends from Grimley a few years on in Mike Galikowski’s production of Nick Warburton’s “Easy Stages”.  The theatre company is presenting ‘Hamlet’ and we are witness to the onstage preparation for the dress rehearsal but more unusually, from the side of the backstage elements. Richard Delahaye’s obsessive Director, Gerry, is back in full flow.  The object of his attention this time being his downtrodden deputy, Matt Field’s Martin, played realistically with the distinct feeling that he had been in this position before maybe? Special mention must go to the Ian Brannon’s Sid who gave us a brilliantly executed portrayal of the archetypal set builder. Ruth Cattell’s Patsy reinforced her amazing dimness as did Lee Knight’s flirty Alice. The ensemble was ably supported by Diane Baugh’s, Gill and Director, Mike Galikowski’s Hitchcockian contribution as Charles.

The evening would not have been possible and certainly not as enjoyable had it not been superbly supported by a hardworking and efficient tech team.  Tremendous ingenuity and effective executive with Neil Milton’s great Set Design. Scene changes and the transformation between plays was expertly handled by the team of Stage Managers – Gary Cattell, Hilary Vendy, Diane Baugh and Roger Seabury as well as Frank Latham’s lighting and Martin Ward and Phil Drinkwater’s Sound adding to the expertise of the evening.  An evening such as this relies on many people contributing and everyone – Set Construction, Graphic Design, an army of Props Coordinators and Rehearsal Prompters as well as an extremely welcoming Front of House Team.
My thanks to everyone at New Kinver Players for their hospitality and I look forward to joining you again soon.

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