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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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See How They Run
Grange Players
Grange playhouse, Walsall
***** THIS is a welcome revival of a less well
known, but very funny, farce written by Phillip King. King was serving as
conscripted aircrew based in London when
See How They Run
made its West End debut in 1945. The opening night was almost wrecked, in the
literal sense, when air raid sirens preceded the arrival of three
Doodlebugs (V1 flying bombs) which exploded nearby. But the stoic
theatregoers were unmoved, not a soul leaving mid performance for either
the warning, or the explosions – it must have been a good night! First staged in 1944 by ENSA in Peterborough to
entertain troops, it embraced the desire of a war weary population to be
entertained and laugh. To be offered a few hours escape from the
drudgery of wartime Britain. It relies heavily on mistaken identity, doors,
and vicars, staples of British farce. While the lights were going out in
Europe, they defiantly remained on in the West End. Even under the
threat of bombardment and invasion the British public never lost its
appetite for the sight of people running round a vicarage in their
underwear, then, or now. Thus, we are presented with a bishop, a stoic
maid, a repressed spinster, a louche vicar's wife, and a problem with
trousers - elements compounded by the arrival of a German prisoner
escaped from a nearby internment camp. The major test of any comic farce is: “Did it
make me, and the audience, laugh?” Yes it did! The single lounge set
(with plenty of doors) works well, and the costuming too, convinces in
creating a World War II feel. For a script that is over seventy years
old, the gags felt fresh, which is to the great credit of both the
director and cast. Christopher Water’s production has a pleasing
lightness of touch that brings out the best from a very strong team. Liz
Webster has most of the fun as local gossip, and failed suitor to the
vicar, Miss Skillion. Her characterisation
David Weller plays one of two real vicars, Lionel
Toop, with godly calm, apart from when he is running around in his
underwear brandishing a weapon. His wife Penelope, (Suzy Donnelly), is a
delight, ditzy, racy and desperately trying to get herself out of
trouble with old acting friend Clive (Rod Blisset), whose assumed status
as a vicar commences the calamitous turn of events which befalls the
characters. Les Wilkes makes the most of the comic
opportunities offered by his part as an escaped German POW. Cartoon
like, it amused as much now as it would have delighted a wartime
audience, he too assumes the part of a vicar. To confuse matters
further, Rob Onions appears as a waspishly funny Humphrey, a cameo part,
another vicar. Andy Jones’ Bishop is understandably bewildered as to
which of them is actually ordained, leading him to exclaim: “I should
like to know what everything means.” Brandy seems to be the cure for all that is going
wrong at the vicarage, causing the Bishop to reflect; “I thought you
were called to the Church, when in fact you have been called to the
Bar!” But I would like to offer a special mention to
Lorraine Samantha Allen’s portrayal of downtrodden, but romance hungry,
maid, Ida. Amidst the chaos which surrounds her, she valiantly tries to
do her job. Her part is to oil the wheels of the plot, which she does
adroitly, and with much skill. Her frustration and blind eye is as
important to the plot as the extravagant excesses of her fellow cast
members. As with all good farce, order is finally
re-established, trousers recovered, and dignity restored. The cast look
exhausted, however, having clocked up a fair number of laps around the
stage, and through the auditorium. An Army Sergeant (Chris Walters),
ends up making sense of it all in a finale which is well written and
satisfying. This really is a first rate show and runs until
23rd January. Don’t miss it. Gary Longden
13-01-16 |
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borrows from Hilda Ogden, Lily Savage and Mata Hari. Although
incapacitated through drink, concussion and cupboard incarceration for
periods during proceedings, her acerbic wit and energy drives the show
on.