Waiting For God

‘Waiting for God’

Wellingborough Technical Players

Opening Remarks

I last visited Wellingborough Technical Players (WTP) in November 2019 to review its then production of ‘Anybody for Murder?’. Thus, with the passage of much time, and even more upheaval because of the COVID-19 pandemic, I was delighted to be invited to return to WTP to watch its 114th production; I looked forward to being able to measure how this outstanding society was performing in current times.

It was a pleasure to be able to meet, once again, Debbie Draycott – and other members of the society – and to catch-up on how WTP has faired the troubles of the pandemic and now plans to weather the storm of the economic crisis in the UK – something I sincerely wish the committee of WTP every success in.

I was informed by Debbie, and a moving tribute in the programme, of the passing of Shaun Johnson MBE. Whilst I did not know Shaun well, I was extremely familiar with his exceptional work as a set designer; in fact, very rarely have I seen sets designed and built, for community theatre, to the standard that Shaun produced. His sets were a hallmark of the high-quality, detailed-focused work that WTP produces. I can appreciate how much his talent and personality will be missed by the society. I extend my sympathy to all concerned. 

I want to congratulate and thank all involved at WPT for the staging of such a unique, professional, and side-splittingly-funny production of ‘Waiting for God’.

The Show

‘Waiting for God’ was written by Michael Aitkens and is based on the TV programme of the same name and author that aired in the 1990s.

Set in Bayview Retirement Home the script plots the autumn years of Diana Trent and Tom Ballard who both reside in the home. Together, the pair embark on the process of growing old ungracefully and remind us how the elderly can most certainly have a second or even third wind: initially a friendship and later a romance evolves between Diana and Tom, resulting in much fun for them and the audience!

The story line is supported and embellished by the interactions Diana and Tom have with their families, and the staff and other residences of Bayview.

The script is extremely funny, full of dark and adult humour, and even a bit of physical comedy. However, between the one line jokes and quick wit there is an important message about how society values and cares for the elderly.

Creatives

Direction by Debbie was of a very high standard. The texture and depth created amongst the cast was brilliant and I appreciated greatly the zoning of the stage to aid with scene transitions. Debbie clearly brought out the best in her cast, ensuring that all actors lived up to the demands of their roles. I also applaud Debbie for supporting those making their debut performances, namely Nathan Gibson (as Geoffrey Ballard) and Sally Litchfield (as Jane Edwards).

Cast

The cast did a brilliant job and was perfectly suited to each of their roles.

I would like to specially mention both Geoffrey and Sally, who I thought did an exceptionally good job in their debut performances. Both had clear characterisation, strong stage presence, and worked very well with their fellow cast members.

I reserve the highest of praise for the principal pairing created by June Johnson (as Diana Trent) and Kevin French (as Tom Ballard). The pair were, put simply, outstanding!

June and Kevin defined their characters with extreme clarity, delivered their lines with terrific comedic timing, and brought the audience to fits of laugher on several occasions. Together they also created a very believable friendship and non-traditional love story.

I must say, however, a moment of great shock, but equal hilarity, for me was seeing the bare bottom of Kevin as he walked off stage in a hospital gowned. It is surprising how often I see naked bums, on stage, as a NODA representative! I applaud his commitment to the part. 

I deeply congratulate all cast members on their brilliant work on stage.

Production

The set was of a very high standard, adding realism to the stage, which contributed to the overall standard of the production. I am sure that Shaun would be proud of the legacy left behind.  

The costumes were also well sourced and reflective of the play and overall production.

 

The lighting design was simple but realistic, all that was needed for the production. The sound effects were managed with professionalism. I appreciated the use of costumed stagehands to transition scenes and, for me, I would have welcomed the retention of lighting during the transitions and possibly some background acting.

Closing remarks

My warmest congratulations for a brilliant production of ‘Waiting for God’. It truly was a very funny production of a high standard.

I thank WTP for the hospitality shown to me upon my visit.

I look forward to seeing the society’s work again in the future.

 

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