Wyrd Sisters

The death last year of Sir Terry Pratchett has caused Stephen Briggs adaptation of this title to suddenly become enormously popular amongst those who select plays for amateur companies. Even in the wild wastelands of Area 4 North I had already seen one production. Well, this time it was Dereham’s turn to mark the death of the writer, with their performance of the fantasy/parody, ‘Wyrd Sisters’.

This production also marked the directorial debut of one of Dereham Theatre Company’s most talented performers, Paul Allum, whom I have enjoyed in such diverse roles as Seymour in ‘Little Shop of Horrors’ and a villain in last year’s pantomime. As I relaxed into my extremely comfortable seat at the Memorial Hall, my thoughts turned to Richard Attenborough and his memories of the first time he directed. The film was ‘Oh What a Lovely War’, and he said that this surreal piece needed to go to either a very experienced director or someone who had never directed before, knew nothing and carried no baggage in the form of pre-conceived ideas. I already had a feeling that ‘Wyrd Sisters’ should be viewed in the same way.

The sets (and backcloths by Scenic Projects) for the many, many scenes were all fine yet even only 24 hours after seeing the show, I can’t recall any of them … with the exception of the one upside down truck which caught my eye. This was down to the equal number of brilliant performances that took place in front of them (more of that later), lighting (design and operation by Andrew Rose) was just what was required with sound (design and operation by Declan Matwij) very much the same. The sound effects which helped things along nicely were also perfectly timed without exception. The original music that helped break up the large number of scene changes was courtesy of Michael Stoker and, like all good incidental music, passed by without being intrusive. Costumes (Wardrobe Mistress Michele Blanks) were excellent and complimentary make up and wigs (Sophie Blanks) could not have been improved upon.

The chorus in this production consisted mainly of Haydn Rogers, Sarah Margree, Lavinia Pirret, Sandra Miller, Helen Bailey, Phil Sherwood, Doug Bailey and Tom Monument who scooped up some 21 parts between them. Mrs Pirret, who contributed 3 of those performances, was on top form and delivered what was for me the best line of the show “It was a bloody good goat too!” You don’t hear that in a Pinter very often!

In the more prominent parts, Colin Harris was at his best as Hwel and The Sergeant, and cut a fine figure in doublet and hose. Due to vagaries in the education system, the part of Tomjon (and a few others) had to be taken by late substitute (and director) Paul Allum, who simply looked like he was first choice for all the parts he played. Matt Scantlebury made a nice job of characterising the late King Verence and Irina Goodwin was manipulation and menace personified as ambitious Lady Felmet.

I am not familiar with Liam Pudwell but, in the quite pivotal role of The Fool, he did everything right. Lee Johnson on the other hand is very well known to me and is a mighty talent with a vast acting range. As the pathetic usurper, Duke Leonal Felmet, he turned in yet another flawless performance, once again underlining his words with perfect facial and body emphasis, not once or twice but every time he spoke. Mr Johnson is indeed one of the jewels in Dereham’s crown.

Last time I reviewed this title, I awarded penultimate paragraph honours to all three witches and was sorely tempted to do the same again. I was told after the show that I had seen Philippa Baillie before but I must say I had no recollection. Mrs Baillie was outstanding throughout as the senior witch, Granny Weatherwax, with sublime assistance from just about the finest character actress in this area. I have never seen Karen Bates deliver anything short of perfection, and, on this night, her record remained unblemished with her portrayal of Nanny Ogg. It was (as usual) a professional standard delivery from a woman who can do just about anything.

So, that leaves one. A twenty year old who appears to have only started doing this sort of thing in 2013. Chloe Annison took the part of trainee witch, Magrat Garlick,  and I could not take my eyes off of her. She was so immersed in the part I kept waiting for her to lose focus or look like she was waiting for a line but it never happened. A wonderful characterisation and a remarkable 360 degree performance that at no time looked like acting. She gave the show the heart and soul it needed and I can’t wait to see this girl again to find out if she really is that good, or was just well cast!

To précis, the performances were universally excellent … now things get more complicated. Easy bit first, the technical direction was pretty good, Paul Allum put plenty in and got most of it right. I liked the voice-overs, but did wonder, in a show that was about 30 (yes 30) minutes too long, why I was looking at a blacked out stage while I was listening to a recording. It was my only criticism and Mr Allum should be very proud of his achievements with this production. The first time I saw ‘Waiting for Godot’ (with Patrick Stewart and Sir Ian McKellen, no less) I declared that it was garbage, but more intelligent people than me insisted it was genius. I have seen it three more times and my original analysis has not changed! The first time I saw this title I did not think it was a work of genius - but it was a village hall production. Like this production, it also had a large number of excellent perfomances but way, way too many scene changes. The sparkling wit and satire of the dialogue shone through from time to time but was overwhelmed by so many other words that did not work for me. The ludicrous number of blackouts made this production so slow that as the lights came up I was struggling to remember what had happened in the last scene. Now before you reach for the pitchforks and flaming torches I would just mention a few audience comments I heard during the interval. One group claimed they had no idea what any of it was about…. which was not a fair criticism at all. The story was simplicity itself even if you are not familiar with … the ‘Scottish play’. The other comment was made in the toilets when I was asked how long the second half was and I replied just under an hour .. to which a man who was unknown to me declared “God! I hope not!”

 Well done Dereham for a very good production.  I am just not sure how good this title really is … 

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