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Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
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A mystery on the doorstep
Not quite elementary: Solicitor George Edalji (left) played by Niko Aldilypour and Sir Arthur Conan Doyle played by Patrick Richmond-Ward. Pictures: Aleks Lapczynski Arthur and
George Sutton
Arts Theatre ***
MODERN day television and cinema enjoys crime thrillers as staple fare.
Birmingham
playwright David Edgar has produced a stage play which taps into that
contemporary interest whilst looking backwards a century to the story of
George Edalji. Edalji was born of an Indian
father and a Scottish mother, growing up to become a Birmingham
solicitor and living in Great Wyrley. He was also a victim of a
miscarriage of justice which helped to create the present day Court of
Appeal system. George and Edward has previously toured
professionally, after premiering at Birmingham Rep, but this is the
first time that an amateur license has been granted. Sutton Arts Theatre were wise
to choose this play. Its local setting, references, and accents have
obvious interest, as do the themes of multi-culture and race. Adapted
from the eponymous book, a semi fictional novel by Julian Barnes,
it cleverly juxtaposes issues which resonate now, in an historic setting
which seems familiar, so popular is the Victorian period in general, and
Sir Arthur Conan Doyle, the Arthur to Edalji's George, in particular. Patrick Richmond-Ward assumed
the onerous responsibility of directing this production as well as
playing the part of Sir Arthur Conan Doyle in a performance of great
authority. Doyle drives the plot on stage. Richmond-Ward also used his acting presence as a conductor to an orchestra, varying the pace and tempo as required. Opposite him Niko Adilypour brought the challenging character of Edward Edalji to life. Sir Arthur (left) with Woodie played by Dexter Whiteheadand Wynn played by Tomos Frater Edalji is a wronged man, yet
has an unshakeable faith in the legal system, even when it has betrayed
him. There are no rants or crie de coeurs, instead angst and hand
wringing. It is a nuanced role which Adilypour tackled well. Three actors bravely took on
twelve minor parts to considerable effect. Amongst them, Adam Worton
played Mr Greatorex, working in a saddlers, in the best cameo scene of
the night when he is interviewed about his part in the crime as he
meticulously polished a saddle.
Two larger than life parts,
that of a barrister and pompous army colonel, were custom made for
Richard Aucott, who clearly enjoyed playing the parts as much as the
audience enjoyed seeing him romp through them. Tomos Frater's feat was
to appear unrecognisable as he confidently switched between his four
roles. Period drama is always
welcomed by the female casts of drama societies as offering an
opportunity to dress up in big dresses with lavish accessories.
Arthur and George only has two female parts, that of Doyle's
consort, Jean Leckie, (Elena Serafinas ), and Edalji's sister Maud, (Lin
Menh Tran), but both reveled in the costuming offered. Elena Serefinas
moved Leckie on nicely from frustrated consort to wife, making the most
of the comic lines, whilst Lin Menh Tran's striking beauty neatly offset
the geeky awkward persona of her brother. Dexter Whitehead, as Woodie,
Doyle's faithful servant had the best comic lines of the night and was
understated, but effective to his master's huster and bluster. Richmond-Ward's production had
a fine sense of time and place with a projected screen backdrop well
used for location and a fierce smoke machine particularly effective for
creating railways scenes. The Great Wyrley Outrages , as they
were known, involved the mutilation of livestock and a threat to young
girls in the area, the sense of shock and fear was well recreated as was
the ignorant racism of the time. “Seeing” as metaphor is the thread
which links the play together. The physically short sighted Edalji
cannot see the prejudice around him, Doyle cannot see that his consort
should be his wife, the legal system and its officers cannot see that
Edlaji is innocent, and at the end, Edalji has to stand on a chair
because he cannot see the wedding party. Arthur and George runs at the Sutton Arts Theatre, South Parade Sutton Coldfield to 30-03-13. Gary Longden |
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