19th
- 24th February
Andrea Oxlade (Host
for the SCDF) introduced us to our Adjudicator for the week, Bob Tomson,
who was making his first appearance at the Barn as Festival Adjudicator.
The plays in this
year's festival were all of an extremely high standard. They benefitted
from excellent feedback from the Adjudicator who also took time to informally
chat with Directors and actors both before and after the shows which
was greatly appreciated.
And so to the first
of the plays...:
Monday 19th February
“Another
Life”
by Derek Webb performed by ACE Theatre Company
The week opened
with this challenging play. The main character, Mary, has untreatable
terminal cancer. She wants to die on her terms, rather than suffering
a painful and undignified decline. She is therefore determined, to begin
with at any rate, to take the one way trip to Switzerland for an assisted
death. Christine White, as Mary, had to bear the full weight of this
play, both in terms of the bulk of the lines but also to display and
control the bulk of the emotional ups and downs. She managed this with
great energy and drive. Her switches from abject despair, as she screams
that she wants to die, to the joy of celebrating past good times with
her husband, Douglas, were skilful and always convincing. The script
required Douglas, played by Steve Gray, to be the weaker half of the
marriage, and he was often tearful and almost pathetic in the face of
Mary’s control and rationality. Gary Hunt and Karen Hunt did their best
with what the script seemed to provide as rather wooden and unconvincing
characters. They both doubled up on roles, which always makes it more
difficult for actors to find an authentic voice. The cast had to manage
a number of scene changes in the dark and this made for a little clunkiness.
In the end, however, it was Mary’s strength of character that held her
and Douglas together as she had second thoughts. “It’s my life” she
proclaimed angrily and so it was.
“A Christmas
Carol. The Creation of a Masterpiece” by Philip Porter performed
by Oast Theatre, Tonbridge
Written by its Director,
this piece imagines Charles Dickens, short of money, having to write
A Christmas Carol in six weeks in order to bring in some much needed
revenue. Backed by a vibrant and imaginative set that could be quickly
adapted to suit every scene, including hat stands that carried the costume
changes, Zac Thraves, as Dickens, gave a powerful and convincing performance,
capturing the arrogance but also the hidden vulnerability of the great
man. He was assisted by ‘Voice 1’ and ‘Voice 2’, who not only played
all the other parts but provided narration to move us through the process
of research, writing and then publicising the novel. Bizz Portlock,
as Voice 1, was a stunning presence and moved smoothly from role to
role – here a wretched and impoverished mother, there a sophisticated
and smug lawyer – with great conviction and timing. With just a modicum
of costume quickly donned – a shawl, a top hat – she became her characters
in an instant, switching her voice and physicality most impressively.
Tony Pegg, as Voice 2, provided great comic support, particularly when
he played two plagiarists at once (Lee and Haddock) in a court scene.
Sound effects were clever and the lighting effective, although when
a spot was used, the two actors on view at that point at times failed
to get both of themselves lit. All in all, this was an impressive performance
played with great vigour and energy by all three actors.
Nomination
for Best Adult Production
Best Adult Actor – Zac Thraves (Dickens)
Tuesday 20th
February
“Much Ado About
Nothing” by William Shakespeare performed by Disaster
Class
Condensing a Shakespearean
play into a mere 50 minutes is undoubtedly a challenging task, yet Director
Tabitha Crocker and her dedicated cast and crew executed it with commendable
finesse. The decision to set the play in post-World War II 1940s added
an appealing visual layer, with elegant costumes for the women, military
uniforms for the men, and enchanting masks at the lively jitterbug ball.
Amelie Bardsley
and Alfie Wickham, portraying Beatrice and Benedick, skillfully revelled
in the delightful banter of their "merry war" of words. Evan Moynihan
portrayed Claudio's journey from an impressionable youth to a heart-warming
reunion with Alix Lander's sweet Hero. The gender swap for Leonata and
Antonia, portrayed confidently by Lelia Prime and aging gracefully by
Gia Hunter, added a refreshing twist to the narrative.
Elani Baldry delivered
a poised performance as Margaret, and Dominic Semwanga brought a delightful
swagger to the role of Don Pedro, showcasing not only his acting skills
but also his talent in lighting design. George Adams and Ed Jones aptly
embodied the roles of the scheming duo Don John and Barachio, while
the audience revelled in the comedic antics of James Ali and Keiran
O'Brien as Dogberry and Verges, reminiscent of the classic Keystone
cops.
The
production's simplicity, featuring three rotating flats and vibrant
lighting on the cyclorama, created an engaging atmosphere, further heightened
by the original music composed by Cameron Day. These talented young
performers, aspiring to pursue full-time careers on the stage, demonstrated
a remarkable level of professionalism that left a lasting impression
on the audience
Nomination for Best Adult Production
“Last Woman Working”
by Michael Pearcy performed by Betchworth Operatic and
Dramatic Society
BODS skillfully
tapped into a universal concern with "Last Woman Working." Tracey Hulf
adeptly portrayed Barbara, who, in a familiar public surgery setting,
confronted her local MP about the encroachment of AI and robots on jobs,
including her own. Vanessa, played with entertaining flair by Linda
Slater, and the appeasing MP Peter, played by Gerald Hulf, attempted
to persuade Barbara to retrain. However, she resisted, leading to a
comical incident where she handcuffed herself to Peter, much to the
amusement of the audience, especially when Vanessa tried to intervene.
The Pickles, a somewhat
caricatured couple of constituents, captured the incident and circulated
it on social media. Barbara evolved into a spokesperson against AI,
as highlighted by her dynamic daughter Linda, played by Kelly Cross.
Protest placards effectively silhouetted against the cyclorama, emphasizing
the growing movement. However, the narrative took an unexpected twist
at the end when it was revealed that Peter was a robot all along.
While a couple of
extended blackouts momentarily interrupted the flow of the play, the
audience appreciated the potential implications hinted at by the production.
"Last Woman Working" engaged with contemporary anxieties surrounding
automation and artificial intelligence, offering a thought-provoking
and entertaining exploration of the future of work.
Adjudicator’s Award to Stephen Tickell for
stepping in to a part with no notice
“Martyred Wives”
by Margaret Wood performed by ACE Theatre Company
The decision to
pair "Martyred Wives" with the preceding play proved to be an inspired
choice by the organisers, drawing poignant parallels between the two
narratives of women grappling with their circumstances in a changing
world. In this compelling production, the men united in their pursuit
of a fair wage, a theme accentuated by Colin White's emotive acapella
folk songs, which powerfully underscored the injustice of the prevailing
conditions. However, their collective efforts were met with a harsh
sentence of seven years' transportation by the stern Judge, portrayed
with conviction by David Burton.
The plight of the
women left behind was ably depicted by Tanya Pemberton, Lynne Fallowell
and Laura Shelly, under the capable direction of Viona Hopwood, who
also took on a role within the cast. The period costumes added an authentic
touch, allowing for a delightful moment of humour when Elizabeth revealed
her unexpected haul of rabbits from beneath her skirt.
Betsey Loveless,
Harriet Hammett, Diana and Elizabeth Stanfield, though less known today,
played pivotal historical roles. The marches and protests triggered
by their husband’s unjust treatment resulted in the men being known
as the Tolpuddle Martyrs. Their collective strength and resilience were
instrumental in shaping the foundation of the Trade Union movement.
"Martyred Wives” stands as a poignant reminder of these women's fortitude
in the face of unfair adversity.
Wednesday 21st
February
“Baggage”
by
Bev Clark performed
by Merstham
Amateur Dramatic Society
The curtain opened
to a simple but attractive set comprising a bench, a bus stop and a
brightly lit cyclorama. Sandra, played by Nicky Gill, appears and delivers
a monologue to the audience. This was skilfully done, with good variations
in pace and tone. Annie, a ‘bag lady’, played by Imelda Smith, then
enters pushing a supermarket trolley containing all her worldly goods.
The trolley then became a useful prop, enabling Annie to fuss with its
contents whenever she felt under pressure from her conversation with
Sandra. Annie’s costume was suitably eccentric and grimy and her Dublin
accent, whether it was natural or contrived, sounded authentic. As she
challenges Sandra to describe her life, Annie showed good comic timing
and posture. The script called for a lot of exposition, as both in turn
told their life stories, and this limited the opportunities for dramatic
interaction but the second scene, with a clever representation of a
graveyard, led to opportunities for heightened emotion around Annie’s
daughter’s grave. If performed again, attention might be given to ensuring
that some of Annie’s lines did not get lost as her grief turned to near
hysteria. This was a touching piece in which two women with apparently
nothing in common in the end found mutual support and respect.
“Heaven’s Above”
by Diana Raffle performed by The Mitre Players
Once again, death
was the theme of this piece but (mercifully!) this time as a context
for a highly amusing and clever comedy. We are in the anteroom to Heaven,
attractively conveyed by blue sky and white clouds lighting the cyclorama
and a few puffs of white smoke downstage. Larry, played with enormous
comic gusto by Warwick Jones, is the supercilious bureaucratic gate
keeper (St Peter being busy dealing with a rush in Woldingham!) trying
to process three candidates for Paradise who would prefer not to be
dead and instead be returned to Earth. Larry first has to deal with
Sally (played by Nicky Chambers), who initially refuses to accept she
is dead, suggesting it is all an anaesthetic induced dream. The back
and forth between these two showed good comic timing and delivery. Melvin
(David Morgan) had a heart attack as he was serving in a tennis match
and he has ended up at Heaven’s Gate still clutching his racquet. David’s
was a jewel of a character performance, engaging and entertaining the
appreciative audience with every word and gesture. Bernice had had a
miserable life and had committed suicide and, played by Julia Gibbs,
skilfully showed us her anxiety and tension through her physical movements.
The cast used the stage well, creating dynamism through their movements,
and the humour never sagged. Eventually, Larry finds sufficient ‘clerical
errors’ to enable him to bend the rules and have all three returned
for a second chance at life, to the audience’s evident delight.
Jill Perry Award for Best Adult Actress – Nicky
Chambers (Sally)
Best Adult Production
“Past Perceptions”
by Andy Taylor performed by Oast Theatre, TTAC
The curtain opened
to a stage empty but for four chairs, on which sat the four actors,
the two not present for the opening action facing away from the audience.
A married couple, James and Mary (played by John Ewens and Lynn Short)
debate James’ questioning of the veracity of memories. While he is philosophical,
she is down to earth and rational. Although they profess their love
for each other, there is a noticeable lack of chemistry between them.
They are interrupted by a strange visitor, Chris (played by the piece’s
author, Andy Taylor). Chris exudes a controlled menace, overlaid with
a veneer of insincere politeness, as he reveals, in an increasingly
manic display, his claimed involvement with James’ long dead first wife,
Siobhan. As the tensions between the three heighten, Chris then professes
that he is in fact the father of Julie, a daughter born to Siobhan when
she was married to James. When Julie, now an adult, appears and rejects
Chris’ attempts to bond with her as a father, tempers mount and a fight
occurs between James and Chris that appears to result in a heart attack
for Chris. Incongruously, Julie then finishes him off by suffocating
him with her scarf and proposing that they bury him in the garden. Although
the audience had been held by the tension of the plot as it was step
by step revealed, they seemed a little baffled by the ending. Nevertheless,
we were left feeling suitably unsettled by Chris’ evil presence.
Nomination for Best Adult Production
Thursday 22nd
February
“(Circle Dreams
Around) The Terrible Terrible Past”
by Simon
Longman performed
by LCA
Stage Academy
As an ensemble piece
of physical theatre, this play enabled each of the ten actors to have
an interesting and entertaining part to play – and entertain it did.
Someone has a recurring dream. It’s a bit weird. There are fish, chickens,
cows, who all look and sound like people – people who look kind of familiar.
A careers advisor is so stuck in Victorian times that he can only advise
students to make candles, climb chimneys or go down mines. The past
is forcing its way inside so the future looks like the past . And there’s
a butcher, killing people. The dream feels like a circle – going round
and round and back to the start again. And there doesn’t seem to be
any way out.
Confused? Yes of
course. All dreams are confusing and this play exploits that to the
max but then take a step back and suddenly we understand that this is
about teenage worry about their futures and what jobs they’ll be able
to do. They worry about whether eating meat is ethical and if being
a butcher is an acceptable career. They worry about why they haven’t
been invited to a party and what they may have missed out on. They question
some of the fundamentals of life itself – everything from ‘Is a crab
a fish?’, to ‘Who should I love?’
The production,
led by Director Matthew Harris, featured a disciplined and committed
cast, particularly actors 1, 2, 3, and 4, played by Samuel Gower, Niamh
Davis, Livee-Rae Turner and Jacob Gower who stood out with confident
performances. Asher Byrne, Emmy Vince, Amara Hughes, Charley Berbuto,
Hanna Fletcher and Thomas Prebble played all the other characters. The
use of sound, from exploding planets to voiceovers, and the effective
minimalist costuming, including the impactful hoodie action, contributed
to the slick production. Overall, Harris, the crew, and the dedicated
cast delivered an evening of surreal inventiveness, providing the audience
with an enjoyable and engaging experience.
Nomination for Best Youth Production
“Jessie’s Tree”
by
Bev Clark performed
by Glow
Theatre Group
The play began with
an impactful thunderstorm created by sound engineer Dom Palmer, as the
titular tree was struck by lightning. The representation of the tree
stump with pallets and boxes could have been more effective, but Caitlin
Daly's sweet, energetic Jessie, who memorialised her brother Jack with
carved initials on the tree, set the motif spanning the 20th century.
In spring 1940,
Jessie's children, Bob and Margie, encountered evacuees Ivy and Ralph
by the old tree. Nathaniel Smith brought amusing belligerence to Bob,
while Thea Stokes effectively played Ralph against gender expectations.
Emily Hallet showed Margie to be every inch a '40s girl, and she and
Ivy formed a firm friendship amid the conflict.
By summer 1967,
Romilly Luck enjoyed portraying the changing customs as Pete, attempting
to lead Margie's son Stevie astray after Jessie's death. Emily Stanley
sensitively played Lorna, supporting Stevie through his loss and there
was a lovely moment as the burnt-out tree began sprouting new shoots.
In 1999, the friends
celebrated Halloween by the old tree. Amelia Rye elegantly played Jess,
Steve and Emily's daughter, discovering more of Jessie's history through
a special gift from Carl, a young Polish boy effectively portrayed by
Matilda Herd.
Spanning four time
periods, this charming play allowed the cast to explore diverse characters
with inventive use of costumes and set design. The young directors Ed
Cowlard and Emma Burton ensured the 18-strong cast delivered commendable
performances, although the final duologue was disappointingly staged
far upstage.
Friday 23rd February
“Ghostwriter”
by
NJ Warburton performed
by Heathfield
Youth Drama
This was a charming
piece delightfully performed by a young and enthusiastic cast. Two playwrights
are struggling to complete their script, a classic country house murder
plot. The setting is a study, which doubles as both the place where
they write and where the fictional murder will take place. The actors
in their play appear and begin to act out the murder scene. However,
they are not inclined to follow the script. They debate with themselves
whether a character should be described as naughty, bad or diabolical,
finally settling on wicked. Their costumes were imaginative and contributed
to the overall humour. Our playwrights are driven to near distraction
as then the director appears to impose her ideas and further depart
from their script. Mr Cash Flow (the producer) wants music (“people
come to see music!”). Further disruption is provide by an anarchic touch
when a gaggle of escaped convicts rush through the stage, pursued by
the police. All this is delivered by a great sense of comic timing by
all the cast but the crowning episode of hilarity comes when there is
a late arrival of “audience members” who are disruptive and loud. They
have to be chased out of the theatre by Geoffrey, one of the increasingly
irate playwrights. Shakespeare appears as a ghost writer. He offers
to help them out but rewrites the lines in blank verse and has all the
characters die from the sword or poison in a fittingly manic climax.
This was a joy to watch and provided a warning to all playwrights to
beware interference in the integrity of their script!
“Make Me Invisible”
by Bev Clark performed by Glow Theatre Group
This was staged
with just three cubes as ‘furniture’ but the dynamism of the cast’s
movement meant that the stage never looked empty. ‘Older Boy’ (played
by Sam Church) gave a highly mature, competent and at times moving performance
as the Narrator, taking us through the story of how, as his younger
self, he was cruelly bullied at school and his strategy for avoidance
by becoming “invisible”. ‘Younger Boy’ (Drew Patterson) displayed good
emotional technique as he was subjected to miserable treatment. “You’re
only good for bullying” and “someone’s got to be the victim” were cruel
taunts. The Ensemble all played their parts well, most effectively when
the bullies acted out the (limited) careers they might go on to as adults.
Standing out from the Ensemble was Alice Bennett as ‘White Gull’, whose
stage presence and controlled and expressive movement was noticeable.
Although this disturbing and eventually tragic story was well acted,
this reviewer was left wondering whether the script had drifted at times
from drama to polemic in its desire to expose the impact of feral like
bullying. Nomination for Best Youth Production
Best Young Actor – Sam Church (Narrator/Older
Boy)
“The Terrible
Fate of Humpty Dumpty” by
David Calcutt performed
by Heathfield
Youth Drama
It was unfortunate
that this piece immediately followed Make Me Invisible on Friday evening,
since it ran a similar theme portraying the cruelty and misery of school
bullying. The play opens with an enactment of the final moments of the
life of the bullied boy, Terry Dumpton, meanly nicknamed Humpty Dumpty
by the bullies, as he is incited by the malevolent gang to climb an
electricity pylon to retrieve a Frisby deliberately thrown up there,
only to be electrocuted and killed. The play then takes us back to the
beginning and shows the progression of his treatment and the aftermath
of his death as investigated by the police. Only Sammy (sensitively
played by Theo Walker) voices any true remorse at the death of his friend,
Terry, but he is shown to have been too weak to have stood up for Terry
beforehand. Eventually, however, he has the courage to be the only one
to tell the truth about what happened. Tom Cassidy gave a strong performance
as Terry, whose compliant character frustratingly meant that he never
stood up to the bullying, thus making himself even more of a target.
In the end, it became hard to feel empathy for someone who made no attempt
to escape the victim role. The bullies were disturbingly frightening,
particularly their leader, Stubbs (Charlie Wilshire). This was an unmitigated
piece. There were no heroes: evil triumphed over good. It was a tough
watch.
Saturday 24th
February
“Hamlet” by
William Shakespeare
(Abridged by Julia Ascott) performed by
Glow Theatre Group
There was a strong
visual opening to this gallop through the plot of Hamlet, with a synopsis
in the programme for those in the audience not familiar with the work.
Strong red and blue colours lit the dancers as they showed us the wedding
of Claudius and Gertrude to modern music. The lyric of ‘I’m Only Human’
echoed Hamlet’s dilemmas to come. An imaginative use of cubes, quickly
repositioned through the play to illustrate different scenes, enabled
the production to keep up good pace and for the cast to have plenty
of space to move. Vienne Punjani, playing Hamlet, mastered her lines
well and was animated enough to indicate that she understood the emotions
that lay beneath them. Tessa Wilkinson, as Ophelia, also injected emotion
and energy to her role and was convincing in her final descent into
madness. In the ‘play within the play’, the players were cleverly masked
and they mimed the poisoning of Hamlet’s father with great visual impact.
The Gravediggers found the required humour in their roles. This was
by its nature a challenging piece to be delivered by such a young group
and they were helped by the device of having narrative explanations
of the development of the plot as we went along.
“Trauma” by
Ethan Thorne performed by Serenity
Ethan Thorne's ambitious
production, where he took on the roles of both playwright and director
while embodying a pivotal character, delivered a thought-provoking and
intense theatrical experience. The play masterfully portrayed the unravelling
mental state of an undercover policeman, entangled in the web of betrayals,
friendships, and the consequences of his choices.
Thorne, in his portrayal
of Mark, the freedom fighter, showcased integrity and meticulous attention
to detail, down to the nuanced tapping foot that added depth to the
character. The ensemble cast, including Bailee Sheldon, Ellie Mae Allen,
and Alexander Moloney, brought versatility and emotional resonance to
their respective roles, navigating the complexities of morality and
the human psyche.
The sensitive handling
of dark themes, such as torture and mental health struggles, was a testament
to the production's commitment to depth and authenticity. Moloney's
portrayal of Jimmy, descending into PTSD and culminating in a poignant
suicide scene, was handled with sensitivity and involved other characters,
mitigating the potential shock.
Behind the scenes,
Sarah, Ethan's mother, operated the sound effects, adding another layer
to the production with notable touches like the heartbeat effect. Aidan
Keogh, the stage manager, skillfully managed the simplistic multi-locations,
contributing to the seamless flow of the play.
While the serious
nature of the narrative dominated, the suggestion of a lighter touch
during the bus scene offered a welcome contrast, which could perhaps
have been made more of to provide the audience with a respite from the
weighty themes explored throughout the play.
In summary, Thorne's
production successfully wove a gripping narrative exploring morality
and mental struggle. The ensemble's strong performances, combined with
thoughtful directorial choices and technical expertise, made this play
a commendable and immersive theatrical experience.
Nomination for Best Youth Production
“The Story of
Kylie and Rick” by Tony Layton performed by Glow Theatre
Group
Director Jo Morrison,
along with Christopher Backway, took an innovative approach to storytelling
in this production, blending ensemble choral work and physical theatre
to breathe life into the narrative of two disaffected teenagers facing
unexpected responsibilities. Imogen Spenser and Charlie Smith, portraying
Kylie and Rick respectively, skillfully dealt with a stolen car that
unexpectedly held a baby, forcing them to confront the realities of
adulthood.
Spenser's portrayal
of Kylie was a standout, radiating attitude and sass while skilfully
depicting the influences that led her to reject societal norms. Smith's
masterful depiction of Rick conveyed street bravado and a burning desire
to be someone.
The versatile ensemble
enriched the production with choreographed set pieces, enhancing the
visual appeal and contributing to the overall narrative. The slow curtain
opening to a tableau of a car crash, symbolizing the tragic end of Rick
and Kylie's lives but sparing the baby, added a poignant touch to the
storytelling.
Among the 17 strong
ensemble, Connie Macmillan shone as the grieving mother, delivering
a compelling performance with a clear voice that captured the agony
of loss. Rosie Butler's portrayal of Mrs. Parker exuded cheerfulness,
while Amelie Torre impressively took on the role of a police officer
managing a classroom of bored kids.
The incorporation
of set pieces, such as the Spice Girls tribute, the posh ladies, and
a group of MPs, added delightful diversity to the production. However,
the estate women's grouping fell slightly short due to costume choices
that unfortunately gave them a zombie-like appearance.
The production,
with Jackie Driscoll as the Stage Manager, showcased excellent stagecraft,
bold ideas, and seamless scene changes, creating a dynamic and enjoyable
theatrical experience. The use of music by Dom Palmer as the Sound Technician
was integral to enhancing the overall atmosphere, contributing significantly
to the success of an evening filled with engaging storytelling and memorable
performances.
Overall, Director
Jo Morrison and Christopher Backway's vision materialised into a production
that left a lasting impression on its audience.
Nomination for Best Youth Production
Best Young Actress – Imogen Spencer (Kylie)
Saturday 24th
February
“Chaos” by
Laura Lomas performed by
Glow Theatre Group
First Laura Lomas'
play Chaos is a stream of scenes, both connected and disjointed. Many
different teenage characters search for meaning in a complex and unsteady
world. Bouncing through physics, the cosmos, love and violence, Seniors
1 of Glow Theatre Group took the audience on a journey to find order
from disorder.
This talented group
of young actors worked brilliantly together to engage the audience in
a wonderfully energetic, well executed piece of theatre. The set, props,
costumes sound and lighting were all instrumental in allowing the production
to lead seamlessly from one scene to the next. The elements of physical
theatre, dance and ensemble were used to excellent effect. During every
scene the actors on set were completely focused and ensured their timing
was perfect. The emotive monologues, comedic moments and contrasting
moments of calm and chaos gave the audience an insight, or reminder,
of the complex and difficult transition from youth to adulthood.
Jackie Driscoll’s
direction was exciting and innovative and gave each member of the cast
a moment to shine; no mean feat with a group of this size.
Best Stage Presentation
Martin
Patrick Award for Best Director – Jackie Driscoll
Best Youth Production
VERLINGUE FESTIVAL WINNERS AWARD
“Missing” by
Reza de Wet performed
by Sevenoaks
Shakespeare
Missing is a dark,
slightly mysterious drama set in 1936. We are introduced Miem and Meisie,
a mother and daughter living in poor conditions, on a night when the
circus has come to town and the fear of previous, unsolved abductions
of young girls hangs in the air.
The set presented
to the audience gave the impression of a family living in reduced circumstances
and the women were engaged in the tedious work of sewing sacks. Gertie,
an unmarried teacher arrived, claiming to be too frightened to stay
alone. Shortly afterwards they are startled by the unexpected arrival
of a blind constable and the uneasy feeling grows.
Heather Wane, playing
Miem, gave a strong and interesting performance of the mother, alternating
between tenderness to dominance towards her daughter Meisie, played
by Lara Lawman. Laura showed Meisie’s timid and vulnerable nature by
good use of facial expressions and reactions to her mother’s instructions.
The arrival of Gertie, lightened the mood and added some humour with
Elizabeth McCreadie’s entertaining portrayal of the spinster PE teacher.
The atmosphere became sinister once again when the Constable, played
by Pierse Stevens, entered with a dark and brooding presence.
As the production
unfolded, the audience were left to wonder if the unseen husband could
be the one responsible for the abductions, or, was the Constable really
who he professed to be and were any of the women really safe that night?
Sandra Barfield, the Director, tightened the suspense gradually as the
play progressed, only revealing the villain as the play ended.
Reviews by Morven
Rae, Peter Shore & Teresa Chinnock
Photos by Mike Sutton