This ambitious production of an Alan Ayckbourn classic is a milestone in the Player’s 70 year history.
The successful mounting of such a complex work marshalling a company from director, front of house, backstage staff, technicians (lighting, sound, scene-shifting, props, costumes and make-up) plus performers from the most experienced to virtual newcomers shows they may have only just begun to reach their peak anticipating perhaps a new Golden Age as they go into the next seventy years.
Experienced Players and Intimate Theatre director David Titley excels himself here, mastering challenges that would daunt a lesser man.
As a play about theatre and theatricals with its in-jokes, songs, silliness and pure observation it scores again and again. But not content with referencing Gay’s proto-musical The Beggars Opera its real business, like all true drama, is with people. So there’s modern reality-style fly on the wall documentary, pubs, uncosy homesteads and cafs where private and public egos fracture left and right. But blend kitchen sink drama with a heritage production from first read-through to First Night and you’ve got – well, a block-buster of a show.
With such a huge cast it’s impossible to champion every triumph but honours must go to anchorman Chris Stanley as the beleaguered director (bit of a busman’s holiday here – he’s recently blossomed in real life in just this role), plus his real and on-stage wife Sarah as Hannah the playing–away spouse. Special mention must go to the rehearsal pianist who holds all the proceedings together. But there’s always a star, and here it’s Stuart Goodwin as the hapless beginner promoted both privately and professionally to glitter, finally, in his own life.
