Veronica's Room

When you realise that the writer of Veronica’s Room also wrote Rosemary’s Baby, Death Trap and Stepford Wives you know you are in for an uncomfortable ride in some way with this play.

Set in the Brabissant Mansion in Veronica’s bedroom we enter The Forge and all the furniture is covered up with dust sheets. As the play opens up and the action starts, the covers are removed to reveal a bed with pink candlewick bedspread. On the back wall is a door with lock and an old-fashioned round light switch. Window which it is later revealed has bars on. Between the door and window is a painting.  A dressing table with fringed lamp, china bell and jewellery box and complete with wicker chair. Chaise longue with cushion and small table at the side with another fringed lamp. Desk with half done jigsaw, books and plant.  Easel with half done picture of a dark tree and paints. Chandelier with fringed shades.  A gramophone and ottoman with Veronica’s clothes complete the scene.  Set builders Jeff Lunt, Steve Butler, Helen Livesey, Peter Beckett, Jolyon Coombs and Andrew Gradwell. Nice little details with props were noticed. Props by Helen Livesey, Dorothy Green, Viv Bloomfield and Kath Cheetham. The music was in keeping with the 70’s theme with Carole King and Angie Baby by Helen Reddy. In fact, the words to Angie Baby very much in keeping with the theme of the play. The sinister music too on opening all added to the atmosphere. Sound Design and Operation by John Lyon and David Cieszynski. The Lighting at the beginning when spotting the pieces of furniture again with the music added to the warning that something ominous was about to occur. Lighting Design and Operation Ashley Foster.

Costume was set in the 1930’s and the 1970’s - I did just wonder if Susan should have had a flesh-coloured bra under the yellow top instead of black as it was mentioned she didn’t have a bra on. But all costume looked great and in keeping.  Wardrobe by Janet Hardman.

Peter Haslam directs and creates a truly chilling piece of theatre. I also want to say that to keep this level of intensity up requires a true insight of when to push and when to just be as the character and draw the audience in with you and take them on a journey. Antonin Artaud talks about The Theatre of Cruelty where shock and unsettling the audience and creating a dream world in the theatre is what it is all about. Well, this had it in bucket loads. It’s easy to say ‘get the cast right and the rest follows’ - I don’t agree - this production yes, had the cast right but Director and cast had clearly put in a lot of work to get the nuances right. I seriously had to process what I had seen as I went out of the theatre. With twists and turns and subject matter hard to witness the audience is taken on a journey that at times I had to think what era are we in, all the time hoping it will come good. Not sure if it is in the script but loved the pick-up in the scene at the beginning of Act Two that was the repetition of the end of the first act.

The duplicitous Young Man played by Jordan Rising known as Larry at first, but it soon becomes clear he is not who he says he is. Standing back at the beginning not actually joining in much, he then later has much more sinister involvement in the whole thing and it’s very chilling. Playing the doctor he is very convincing and his departure carrying Susan leaves a distinctly uneasy feel and the fact we only know of him as Boy and what is going to happen. Chilling

Daniel Ryan as Man taking on various names and accents is changeable from threatening to leering and lascivious looks. He is unreadable at the beginning but makes you uncomfortable. I got the feeling he was hiding something as the play progressed and towards the end it is clear his love for Veronica has got him into deep dark trouble. We are given a very quick glimpse of worry but it’s soon battered away. Very cleverly played.

Christine Morton playing Woman, again as Daniel playing Man the use of accents and various names. Christine was like a finely wound spring: you didn’t know when she was going to go off. We saw a few snaps at John and when he was Lloyd. I found the scene when she was doing Susan’s hair quite mesmerising. The change of character when she came in as Nedra - I thought she was playing someone else. Christine was scary and chilling and seriously a woman on the edge. Her breakdown at the end clear to see she had been the driving force. Deranged comes to mind. Well-played.

Mindi Leonard-Lockett as Girl called Susan. The innocent victim who plays straight into their hands. The happy go lucky Girl at the start who with emotional cruelty gets beaten down. It was hard to watch and the death scene while hard to digest was well played. Pleading for life and agreeing to their lies when there is no hope. As an audience to know this is not the first time it has happened when it is mentioned about the French girl is shocking. Very sacrificial.

Again I reiterate the cast worked as a unit and Bolton Little Theatre must surely be pleased with this spine chilling thriller. I will be thinking about it for a while. Thank you for the invite and hospitality my from guest Matthew and I.

Liz Hume-Dawson

D5 Rep

 

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