Writtle CARDS

NORTH ESSEX THEATRE GUILD FULL LENGTH FESTIVAL 2013-14

Writtle Cards

Ring Around the Moon by Jean Anouilh

Saturday 28th June

Adjudicated by Andrew Hodgson

This performance was also attended by Christine Davidson

INTRODUCTION

In the post war years, the English versions of the plays by the French playwright Jean Anouilh, were staple fare in London’s West End; usually featuring major stars in the leading roles. The original cast of “Ring Round the Moon” in 1950, was mouth-watering: Paul Schofield, Margaret Rutherford, Claire Bloom et al. In an age when charm, elegance, and wit in the theatre seem to the have fallen out of favour, Anouilh’s lengthy and literate plays are rarely revived. It was therefore very welcome to have this opportunity to see this production by the ever-adventurous Writtle Cards.

FRONT OF HOUSE

Writtle Village Hall is a delightfully situated and intimate venue. I received the usual friendly and efficient welcome, with good seats reserved for me. The 20’s atmosphere of this production was established by the pre-curtain music, and there were appropriate displays around the walls. The programme was informative and clearly designed.

SETTING

Excellent use was made of the small acting area available, with a thrust stage, and good use of the central aisle. The conservatory of the Chateau’s Winter Garden was simply denoted with delicately painted flats and white lattice work. A painted backcloth suggested the sky and garden beyond. A string of Chinese lanterns hung across the central stage, and the only furniture used were two white patio chairs. This meant that entrances, and exits, were unencumbered for the actors. Madame Desmortes wheelchair was suitably old fashioned, and the props generally were appropriate, and in-period. 

SOUND/LIGHTING

Sound cues were efficiently executed and good music choices (with one reservation) had been made to underscore, and promote, the period and the action.  However, I was disappointed with the lighting, which seemed to remain the same throughout the course of the production with no clear delineation of times of day - particularly in a play which is so reliant on a magical mood and atmosphere! For example, it was a shame that the lanterns were not actually alight during the ball scenes. Flashing spots were used to suggest the Firework display.

COSTUMES

The 1920’s wardrobe that had been assembled was excellent. Good attention had been paid to period detail and character. The ladies dresses were beautiful; hair, makeup and accessories had all been given due care and consideration. The men all looked smart in evening dress; although we thought the Butler’s costume was a little ill-fitting and Madame Desmortes’ wig was rather unflattering. I also wondered why the cast were in evening clothes in the first scene (which was set before lunch) and I definitely thought that Isabelle and her mother would have been wearing hats and coats on arrival. Otherwise, well done to all involved in this aspect of the show.

PRODUCTION

Direction, characterisation and choreography were all very good. Daniel Curley had a clear vision for his production, he had worked hard with his cast and, as Christine commented, this showed through in their teamwork and obvious enjoyment of their roles. Very good use had been made of the small stage and the action flowed very smoothly. The pace was brisk (it was a long play) and the audience’s attention was held throughout, despite the fact that the first half ran an hour and twenty minutes and the second half was much shorter. This did make the evening feel a little uneven concentration-wise! The humour of the piece was well-conveyed and the 1920’s period worked nicely for this play. It is described in the script as a “charade with music” and, as I mentioned earlier, the music choices in this production were good. I wasn’t too sure about the Elgar used for the fireworks (this seemed too British) and, although it was well performed and the audience loved it, I personally felt that the “Anything Goes” finale number was too brash and American for such a French “souffle” of a play.

ACTING

With one or two exceptions, lines were very secure and delivered at a good pace. The actors seemed to have been encouraged to play “out front” in the 20’s manner. We both felt that, age-wise, the casting of Diana and Dorothy should have been reversed, but this was no reflection on the two actresses who played their roles well. The use of an extra guest, and two maids, to add to the humour and period of the play was a nice idea. Jan Irving, Shelley Goodwin and Clare Williams reacted well throughout and they provided a nice touch of fun to the proceedings.

JOSHUA: Boot Baines was well-cast in the role of the Butler. He behaved and sounded just right as he observed the goings-on around him and wryly commented upon it. This wasn’t a big role, but Boot always made a memorable impact when he appeared.

HUGO/FREDRIC: Neil Smith acquitted himself most commendably in this large and demanding role(s). He looked very personable, and clearly differentiated between the two brothers in terms of body language and subtle appearance, never over-playing either role. Neil had to switch from one role to another in a matter of seconds, and did this well. As the arrogant and confident Hugo, he maintained an upright, autocratic stance, whilst Fredric was more introspective and nervous, winning the girl…and our sympathy! Well done!

DIANA: Although we felt that Michele Moody looked too mature to be the daughter of Daniel’s Messerschmann, she gave an appropriately brittle and sophisticated performance. She looked glamorous and sounded suitably acidic in her dialogue. The scene in which she was sparring with Isabelle, verbally and physically, was a highlight of Michele’s enjoyable portrayal.

DOROTHY: Louise Burtenshaw seemed a bit too young for this part but looked wonderful and she was very predatory! Louise’s movement around the stage was excellent, and her tango was very well done indeed. Vocally, Louise needed to put more expression into her dialogue but this was another enjoyable performance.

PATRICE: Alex Houlton is a personable young actor who played well opposite Louise. Again, more expression was needed in his vocal delivery, and his accent could have been sharpened up a tad but Alex’s facial expressions were good. He fitted well into this role.

MADAM DESMORTES: Liz Curley had a splendidly autocratic manner and she pulled the strings of her guests with slyness and sophistication. Her dominance over her companion, Capulet, made for many amusing moments in the production. Despite some hesitancy with her lines, Liz’s vocal expression was excellent, and she delivered her lines with aplomb! Well done!

CAPULET: This was an outstanding characterisation from Paulette Harris as the lonely, subservient, but also subversive, companion, Capulet. Her facial reactions were a comic joy and the business with Madam Desmortes’ wheelchair brought the house down. At the same time, Paulette conveyed the underlying pathos of the role. Her pair playing with Angie Gee, as her old school friend, was also a delight; the two actresses created a very funny stage partnership. Very well done indeed Paulette!

MESSERSCHMANN: Director Daniel Curley had great stage presence in this role and gave us another excellent performance. Initially coming across as a rather sinister figure, the character came into his own during the second half of the play. Daniel’s delivery of the long speech in which he revealed his background was powerfully done, and he won our sympathy. The whole conversation with Isabelle, and their tearing up of the money, was an outstanding scene in the production for me. Very well done!

ROMAINVILLE: Although Geoff Hadley did not seem totally secure on his lines, he brought a suitably mature and natural presence to his scenes. However, I felt that this character demanded a more sophisticated tone in his dialogue.

ISABELLE: This was a lovely performance from newcomer Laura Bradley in this pivotal role. As Christine noted, Laura clearly understood the importance of stance on stage and for the period of the play. She gave a spirited performance, always reacting appropriately to her fellow actors and more than holding her own with the more dominant characters in the play like Diana and Hugo. There was excellent vocal work from Laura, and good movement around the stage. Very well done!

ISABELLE’S MOTHER: The audience loved Angie Gee’s larger than life characterisation of this talkative and vulgar woman. Angie’s facial reactions were very amusing and she demonstrated good comic timing. Her pair playing with Paulette was very funny and a delight to watch. Well done!

SUMMATION

This was a very good production of a lengthy and densely written play that could have been quite dull in the wrong hands! Daniel Curley’s vision, and the commitment of his cast, gave us an attractive, well-paced and entertaining performance that was greatly enjoyed by the audience. Well done to all involved!

Best wishes

Andrew Hodgson (adjudicator)