2019-20 Season So Far
The Miser, by Moliere, freely adapted by Sean Foley and Phil Porter to appeal to today’s audience.
Still set in late 17th century, the costumes and ingenious set exuded faded French wealth. The plot follows the antics of a paranoid old man trying to protect his money. Directed by Sarah Clarke, it was a fine opener for the new season with some excellent characterisations and wonderfully risque lines. The ever-collapsing set was hilarious and well-co-ordinated and the idea of using the backstage crew almost as cast members, when changing the set, was inspired. Tony Price was delightfully doddery in the lead role of Harpagon and Tim Hands, as the multi-roled Maitre Jaques, contrasted with a super-speedy delivery. Esme Martin was wonderful as Harpagon’s sweet daughter, Elise, She was beautifully naive as she delivered double entendres galore. Barbara Lloyd was perfect as Frosine the Matchmaker, enjoying every nuance of the script. Daniel Hands looked impressive as Harpagon’s foppish son Cleante, but could have been even more outragerous. Andrew Nelson was as reliable as ever as Valere, the butler. The large cast worked hard and clearly enjoyed this re-worked romp. Edited from Gordon Birch’s article for the Harborough Mail.
Revlon Girl, by Neil Anthony Docking
This heart wrenching drama about the women who had lost their children in the Aberfan disaster in the 1960’s, also had some lighter moments. Comments from audience members leaving after each performance were very appreciative. Jan Wilson’s excellent direction helped the three women who had not acted with us before to give excellent performances, Rebecca Matthews, Elin Davies and Lynne Millward. Also outstanding were Nicky Mawer and Alison Kennerdell giving very powerful performances. Congratulations to all of you.
Confusions, by Alan Ayckbourn
The four playlets that make up this whole, were managed in spite of an actor who played two parts having to withdraw a week before opening night. Inspite of this the show did well with the change and both Mark Apland in Drinking Companions and John Foreman in Gosforth’s Fete who stepped into the breach did sterling work. In Mother Figure, Lara Colotto, Helen Foreman and Tony Price were convincing. In Drinking Companions Uma Dehaan and Millie O’Brien and Mark Aspland managed successfully to act out a situation that today’s women wouldn’t tolerate. In Between Mouthfuls, the best play of the evening, Dale Williams, Hazel Cook, Lara Colotto and Daniel Hands played the restaurant couples admirably, (script ingeniously linked between the two tables), In Gosforth’s Fete, John Foreman managed the role of Gosforth with support from Triniti Armstrong, Hazel Cook, Peter Warren and Daniel Hands. Well done cast for overcoming the crisis.