When We Are Married

Phoenix Players like other societies have needed to think differently in order to get their first full stage production on stage. This play was in the planning prior to the pandemic and has, as a result, faced date changes, venue changes and rehearsals using zoom and under the rule of six before finally managing to get together.

First performed at St Martin’s Theatre (now home of The Mousetrap) in London’s West End in October 1938 before transferring to Prince’s Theatre (now Shaftesbury Theatre) in March 1939 ‘When We Are Married’ has never lost is popularity and rightfully so as a period piece.

Based around three Edwardian couples married on the same day twenty-five years before at the same chapel in Clecklewyke, they meet up to celebrate with a rather length menu described by the maid at the opening of the play. However, to their horror they discover they are not married after all.

On entering the venue, the set a drawing room at the home of Alderman Helliwell was visible. It was evident from the start consideration had been given on how to tackle the demands of the play. No doors were part of the set and although the script calls for several different ones, such as into the hallway and into the garden, the lack of these did not diminish the production.

Most of the action involves the three couples either with them all together or scenes with the characters in differing pairings. The Helliwells – Alderman Joseph and Maria (Rob Warnes and Fiona Robson), The Parkers – Councillor Albert and Annie (Graham Robson and Lisa Maxwell), The Soppits – Herbert and Clara (Roger Gowland and Lynne Gaskell). All were well played with each having their own character, many of which changed as the play developed and the situation facing them emerged. Each of these made the most of their lines and changes in their character such as the strength found by Herbert Soppit and Annie Parker.  The pompous and somewhat dull, dreary and ‘stingy’ character of Councillor Parker was well performed. The facial expressions and mannerisms of these characters was well developed.

Holding the ace card was local ‘lad-di-da’ organist Gerald Forbes (Luke McDonald) who has been secretly meeting Nancy, the Helliwell’s niece, played well by Lisa Cowley. He is summoned to a meeting with the three men to discuss his playing at church where he breaks the news regarding them not been married with great relish. Luke played the part with relish and conviction.

Local reporter Henry Ormonroyd, from the Yorkshire Argus, has been invited to come along and record the happy event for prosperity along with his photographer Fred Dyson – Neil McBride, but as he’s early he decides to go back to the pub so that when he eventually comes back, he is a bit the worse for wear! Ormonroyd, played by Baz Stilinski, then reminisces with Lottie Grady, played by Karen McDonald, about their mutual friend Tommy Tootles. I did feel that the comedy in this scene could have been emphasised more but, that’s just my personal opinion. 

The other roles which have the best comedic lines are Mrs Northrop, the housekeeper, who never misses a thing and Ruby Burtle, the maid, both roles were well played by Rachel Harris and Stacey Warner respectively.

Most costumes were authentic in appearance especially the main three couples. Similarly, most props were good. Some of the actors may have needed to wear their own glasses, these did look somewhat modern, but this is nit-picking.

There were a couple of times when errors took place, but these were well handled and many in the audience may not have noted all of them.

It is always a pleasure to be with Phoenix Players and I look forward to Robin Hood in February 2022.

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