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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 Half stars fall between the ratings |
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Two into four equals confusion Relatively Speaking
Sutton Arts Theatre
*** THIS is where
it all started for Sir Alan Ayckbourn, his first hit play. Originally
entitled Meet Your
Father it premiered
in Scarborough in 1965, as was to become Ayckbourn’s custom, before
becoming a hit in London’s West End in 1967 And he is still
writing, with more than seventy plays to his credit. Early plays tend to
be either rough diamonds, hints of things to come, or a treasure trove
of ideas realised for the first time.
Relatively Speaking falls into the
latter category. Drama in the late 1960s and 1970s often focussed
on marital strife as marriages forged in the cultural changes of the
swinging sixties were tested, or more established relationships
reappraised. But Ayckbourn’s skill is to combine the darkness of Pinter,
throwing in mistaken identity as Goldini and Goldsmith enjoyed, and
adding a touch of Feydeau farce. Two couples find their lives entwined, the young
Ginny and Gregg, and older Phillip and Sheila. Ginny is having an affair
with Phillip, which she wants to end, Gregg meets Phillip and Sheila
thinking they are Ginny’s parents and Phillip meets Greg thinking that
he is Sheila’s secret lover. Cue misunderstandings, hilarity and farce. The scenes unfold during a summer weekend in the
bed-sitting room of Ginny’s London flat and on the garden patio of
Sheila and Philip’s home in the country in 1965. The scene change itself
is quite ambitious with the patio exterior offering considerably more
detail and depth than the flat, but the result is well worth it. Ayckbourn is a master at conjuring comedy out of
marital misery with Phillip excelling in misogynistic gloom, "She costs
me 30 quid a week to run and that doesn't include overheads." Never does
he miss an opportunity to snipe at Sheila either "I can't say I'm very
taken with this marmalade" The highlight of the evening is a scene in which
Philip and Sheila, talking entirely at cross-purposes about Ginny's
married lover, reveal the depths of their own antagonism, synthesising
comedy and pathos. The laughter of misunderstanding, suddenly and
subtly, colliding with the truth. Director Jane McConachie will be
delighted that this set piece was so well despatched. Anne Deakin steals the acting honours for the
production, benefitting from a very well written part and wins many
laughs at Sheila's bewilderment with the arrival of Greg and Ginny.
Lynne Ridge’s Philip is a curmudgeonly, wry, care worn soul who looks as
though he will get off the hook - before a neat plot twist. Opposite the
older couple, Joseph Flanagan offers naive, bemused innocence as Greg,
Rachel Williams shimmies and strolls as Ginny. There is very little visual comedy, all the
comedy coming from the words, making this quite a demanding play for
actors. The first scene of the first act took a while to warm up, but by
the final scene all the cast was firing on all cylinders earning warm
applause and much laughter from an almost full opening night audience,
which augurs well for the rest of the run. To 01-11-14. Gary Longden
23-10-14 |
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