When We Are Married

Set in 1908, there’s lots of potential for J. B. Priestley’s 1938 comedy When We Are Married to have dated in the last century or so. Yet, Oswaldtwistle Players brought out the universal qualities of the play in a battle of the sexes which isn’t afraid to air dirty laundry between each other, whilst projecting a face of absolute propriety, almost to the point of absurdity, to the very correct village of Clecklewyke. The plot follows three couples apparently celebrating their silver wedding when they discover that the young vicar officiating at the ceremony was careless with his paperwork thus all three weddings may have been invalidated.  Throw in a young couple in love, a housemaid who has no understanding whatever of the word ‘tact’ a slovenly and vindictive housekeeper, a drunken photographer, a journalist, oh and a ‘dalliance’ of one of the husbands and you have the all the elements of a totally farcical situation.

I must start by congratulating you on a great looking set – it looked exactly right and was apparently easy to work on and with – my only slight concern was the wobble when the door centre back was closed a little vigorously.   I was also impressed with the props, glasses looked really good, but the cigars just looked odd – it really needed at least one to be smoked, like the cigarette, but they cannot really be omitted as they are mentioned so frequently within the dialogue.  The coinage used also did not look quite large enough. and so not appropriate.

The costumes were just wonderful – we were transported back to 1908 in an instant, but do remember that the posture of ladies then was very different (due in the main to the highly constrictive under-garments which were worn) so backs were always ramrod straight.

I must say before I go on that I did thoroughly enjoy the evening, and there were some wonderful characters drawn with some good facial expressions.  I did struggle to hear a couple of the members of the cast, but in the main both diction and volume was good.    Many congratulations also on being able to cast a straight play with a cast of 14 with no doubling, and with everyone on the stage looking and acting the part. 

The first 10 – 15 minutes of the play is really quite slow as it draws the plot for the audience.  It is therefore essential that lines are absolutely solid so there is no drop in pace and you do not lose your audience before you start.  I understand that you do not use a prompt which is admirable but some uncomfortable ers and ums, and perhaps more importantly slipping out of character, could perhaps have been avoided by the use of one in this instance.       

You managed to draw out much of the humour in the piece and very many congratulations on your handling of the many angry arguments between various members of the cast as various times which were all vocally well done.

It was such a shame that there were so few in the audience meaning you received little or nothing back to feed from, not that that seemed to impede you in any way – it just makes it harder work – and I am sure that all those who were there greatly appreciated and enjoyed the evening, I know I did. 

The piano, played by an appropriately costumed lady, at the opening of each act set exactly the right atmosphere and was a great idea to add atmosphere and exactly in keeping with the time period. 

I feel I must end by sharing a little interesting snippet with you (updated as appropriate).

“However, for all its old-school tendencies by wrapping up the marriages neatly, Oswaldtwistle Players revitalise the script and make this show seem just as successful a distraction from “the state of Europe for an hour or two” (words from Priestley himself, the day after it opened in 1938) as it must have been the first-time round”.  Clearly the play has endured well, as has the state of Europe. 

Thank you for a delightful and most entertaining evening and well done to everyone concerned.

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