Wait Until Dark

We all enjoy the frisson of excitement when we are scared knowing that there is really nothing to be afraid of. Stage Two Downham’s production of “Wait Until Dark” certainly delivered that enjoyable sensation. Starting from a totally dark stage with superb atmospheric music composed by Richard Hubbard we were immediately sucked into a tortuous web of intrigue, lies, murder and menace. A rich brew to be sure. The plot concerns the attempt by Roat and his two henchmen to locate a doll they believe to be concealing a valuable consignment of drugs.  Incidentally author Frederick Knott’s ancestors were at one time Lancashire mill owners. I wonder if they ever visited Downham.

It is the henchmen, Croker and Mike, who appear first. Chris Bowers quickly established the feeling of menace, while Croker, played by Richard Hubbard added to the atmosphere of unease. Both actors clearly relished their roles and were convincing baddies throughout.  The debate between them before the third villain appeared was chilling. Then on came Roat, the master of deceit. Kenny Entwistle made us squirm. He portrayed a thoroughly unpleasant character with consummate ease. (Nothing personal Kenny). Appearing in several guises Kenny teased us, constantly playing with our emotions.  Never quite going over the top this was a performance of consummate skill.

It takes a strong person to come to terms with suddenly, after many years of normal vision, being rendered blind. Yet Susy Henderson had manged to do so. Erica Mileham, in the role played by Audrey Hepburn in the 1967 film of the play, was awesome. I was watching carefully to see if she forgot herself and made eye contact with any of her fellow players.  She did not. Her reactions to what so going on around her were complex. She demonstrated a character possessing the ability to think on her feet and outsmart even the most conniving of the three desperadoes.

The set by Brian Haworth and Mick Gidlow, closely followed that of the film; superbly claustrophobic. The basement flat, as Frederick Knott demands, is small. Yet it was cluttered with objects from the 60s. I liked the 1961 Picture Post cunningly positioned to attract our attention and underline the fact that Sam, ably played by Tim Martin, was a professional photographer. The wallpaper was horrendous, yet very similar to my best friend parents’ front room circa 1964. Frightening!  Director, Kim Croydon’s marshalling of his players was first rate. It is perhaps a cliché these days to begin one act with the actors in the same position they were in before an interval, but boy does it work if directed with care, as it was here.

A special word of praise is due to Rebecca Taylor who I believe is 13. The role of Gloria is far from light-weight and demands from the actor playing the part a wide range of emotions.  Rebecca manged the challenge skilfully. I am sure a distinguished future on the boards awaits.

The rugby tackle near the conclusion of Act Two when Roat, now at the end of his tether, reaches out to grab Susy took us all by surprise. The astounded audience gasped collectively with shock. This was what you may truly call a “coup de theatre”.

 Kim Croydon produced a show that held the attention from the outset.

 This production of “Wait Until Dark” was a fine example of amateur theatre at its best; entertaining, well-acted and clearly very well put together in every aspect of the intricacies that go to make up a memorable show.

However, I must not end without mentioning Geraldine. Suffice it to say, her performance was sharp and cutting-edge.

It was good to be introduced face to face to fellow theatre folk whose names I have heard so often.

Thank you for a great night out and thank you too for your hospitality, Stage Two Downham.

 

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