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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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Eyes down for a full house The Bingo Caller Hall Green Little Theatre **** STEPHEN Jackson's world premiere of his
play The Bingo Caller opened to a full house, appropriate give the
subject, and not only sported a sparkly gold lame jacket, the
ultimate in posh naff, but also an equally shining silver lining in the
shape of Marcus Hendry. Hendry stepped in at the last minute – or at
least three weeks ago – when the original actor for the role of the
bingo caller, who had apparently had had the script for months, decided
he needed more time to be ready. As writer and director Jackson explained to the audience at the start of the show, with dates set, programmes designed, posters printed, and audiences virtually arriving on the doorstep, that was hardly an option so the actor took his bow and left. So enter Marcus, plunging in at the deep end - no bombing allowed - as the world's greatest bingo caller Buster, a title not awash with competition, but in the world of Buster bingo is king. And enter prompt Heather Matuozzo who was
elevated from sitting in the corner ready to throw in the odd word if
the odd moment of desperation arose to becoming half a double act. Jackson and Hendry knew they would never be ready
for a conventional performance but shunned a rehearsed reading in favour
of a script in hand performance – with the script in the hands of
Heather. Hendry used her in the role of a confidante in
the audience whenever he needed to be guided, with questions to her such
as “Now what was it he said to me?”. As his relationship with the audience grew the
questions became more blatant, less contrived, such as “What comes
next?” but no one cared, Hendry had succeeded in making it part of the
performance. This was no longer an actor who had not had the time to
become word perfect in a 90 minute one man show, but an actor who had
turned a major difficulty into an integral and funny part of the
performance. Buster has been the bingo caller at Binley-on-Sea
Caravan Park for 23 years and his number has been pulled from the pot –
he has been sacked.
Bingo cards in hand, the audience are witnessing,
and playing, his last game as Buster reflects on his life and
chain-smoking mentor, the late, great Jimmy Mullard, bingo caller
extraordinaire at the Acock's Green Bingo Hall. Through a mix of funny one liners, corny jokes,
old jokes, bad puns and food impressions – don't ask – tales of an aunty
with giant ear rings, a whirlwind marriage and divorce – a lot of wind
involved in that one - and a Catholic neighbour in a hospice we end up
at Binley and new owners Call Me Jeff and Call Me Suzie. Buster does not
get on with Jeff – and does not get off with Suzie – and sees his whole
cosy, comfortable life about to be flushed down the pan. The play drifts between funny and pathos with a
character who sees himself as a star, an entertainer at the top of his
profession, with bingo calling as his life yet who still has to do odd
jobs, including unblock the toilets, at a northern seaside caravan park. He talks of the future of bingo as if it really
has one and when his own future and his beloved bingo calling are
threatened by the sack, he lashes out and burns his bridges so well that
there is no way back – even when one is offered. Hendry works the audience beautifully,
incorporating stand-up into his bitter-sweet tale – as well as making
regular prompts all part of the act in a memorable performance. Writer Jackson is a regular at Hall Green, but
usually on the Malteser munching side of the footlights, down among the
audience. This is his debut there as a writer but he has
been shortlisted in the past in playwriting, poetry and monologue
competitions, has written a children's book and runs a greetings card
company. Full of enthusiasm he is using the performance as
a workshop and is already talking about changes and rewrites and even
invited the audience to find him in the bar afterwards to tell him how
they thought the play could be improved. The double act format, out of
necessity rather than choice, funny as it was, made it impossible to
properly see the structure and flow of the finished article, as written,
but the solid basics seem to be there and now Jackson is looking for
polish. Along with a comedian friend he took a comedy
show involving bingo to Edinburgh and has always had a feeling that
Bingo was a good subject for a play, and on the strength of this, he
could well be right. A most entertaining evening. To 27-04-13. Roger Clarke |
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