Recent Reviews
of "Players" Productions

Before I give a view, I can hear voices arguing that as Production Manager, my view would be biased. However, I would argue that it's worth bearing in mind that due to other commitments, I didn't see too much of the rehearsal process so when I saw the play for the first time in its entirety it was on the first night.

So, what is the verdict – soaring lark, or stuffed Turkey? I have to say I was impressed and mesmerised. It was a production the cast, the director and the Dulwich Players can feel very proud of. The acting had to be energetic, fast-paced and the repartee like a verbal tennis match. On the one hand this can be onerous on a small cast, but it does give a chance to really gel and produce a honed team effort. OK, there were one or two slips but in such a verbal tour de force of a production they are to be expected. But my overall impression was one of energy and quality.

In a farce, the acting has to be larger-than-life to keep the audience engrossed. The central performance depends on the capability of the Anarchist to keep the energy level high and to keep the pace cracking along. Tom's performance did this perfectly. His energy and verbal dexterity in producing a range of characters were impressive and his performance anchored the rest of the play. Sometimes it is the little touches that make a performance memorable and I was particularly taken with the business he developed around the wooden hand.

Nick's performance as the inspector really came up trumps; he combined a sonorous, strong voice that reached every corner of the theatre with a terrific energy level which conveyed the mounting frustration of this bewildered policeman. Tony, Fabian and Ted as the other policemen gave the production a range of well-rounded characters who were sucked into the madman's plot to expose their corruption. Ted managed to get most of the laughs of the evening as the bored uniformed policeman but I felt that if one character had more potential, it was his. Sometimes the smaller parts can be really developed to become memorable and such was the comic potential of his part. Jenny's appearance was well worth the wait. She quickly established her presence on stage as a no-nonsense, sensible journalist amidst a sea of recriminations, denials and lies. Jenny has proved another of an influx of talented young women the Players has recently welcomed

Although deceptively simple, the set provided the atmosphere of grubby institutionalism; sparsely furnished offices reflecting the unwholesome activities of this police force. A pat on the back to Severine and Ian for the design and construction of a set which had to be rock solid. It was. I can't pass the opportunity to comment also on the surreal backdrop used to convey the different levels of the building; it was a great piece of artwork from Katy Gaul and Nuong Trieu. We have got used to having good lighting in our plays and we tend to forget that the young man responsible for producing the atmospheric lighting in this play which did much to add to the drama; think of the finale with the red light growing smaller and smaller, is thanks to Jake who has been busy studying for his A-levels at the same time as doing this play.

Finally, we come to Kevin, the Director. For a first time production I would say "Didn't he do well!". I know Kevin found the journey from start to finish something of an odyssey but I also know that having been through this particular crucible he has learned much which will stand him in good stead for his future productions.

Set towards the end of the 18th century in an Australian penal colony, Our Country's Good is author Timberlake Wertenbaker's paean to theatre. Showing as it does theatre's potential to redeem, enlighten and transform, the play has lost none of its power since it was first performed at the Royal Court in 1989. I was very fortunate to see the original production, and I must say this newest production also lived up to my expectations.

The director has worked wonders with a minimal use of set and props. Some very authentic costumes add colour and definition where some of the doubling proves confusing. As nearly all of the cast double up, playing both convicts and officers, this requires considerable skill, as well as the adoption of a variety of regional accents and physicalities. Special mention must go to Dulwich Players stalwart Paul Sykes, who impresses in the contrastingly Celtic roles of tyrannical Major Ross and sympathetic hangman James 'Ketch' Freeman. His vocal and physical transformation was one of the highlights of the evening for me.

Equally standout is the performance of Andy Way, who holds the whole evening together as 2nd Lieutenant Ralph Clark, who has been given the dubious position of director in the 'play within the play.' There are many laughs to be had at the expense of the luckless convicts drafted in to play characters in George Farquhar's Restoration masterpiece, The Recruiting Officer. Izzy Tredinnick, Severine Powell, Rebecca Dallaway and Lucy Passmore must be given special mention here as they bring to life with aplomb the motley crew of female convicts to whom theatre has given a new lease of life. They show great range and ability in their doubling too.

In smaller roles there is able support from Ed Langley as the word-lover John Wisehammer, Steve Borrie as escaped convict John Arscott (whose absence jeopardises the entire production!) and Tracy Brook as the unfortunately named 'Shitty Meg'. A special mention must go to Chris Harvey who shines in the role of 'X Factor wannabe' convict Robert Sideaway, a kind of Nick Bottom down-under, who spends more time practising his curtain call than acting (the character I mean, not Chris!) Finally a mention to Bill Bailey, in his sensitively played dual roles as the doomed officer Harry Brewer, and the monosyllabic Captain Campbell, and a very stately Stefan Nowak, as the colony's governor Captain Phillip.

Congratulations also to the production team who have pulled off quite a feat. Scene changes were fluid and use of props and scenery very effective. Atmospheric lighting brought the mood of the barren Australian landscape to life very effectively. A minor quibble was the occasionally intrusive sound effects – I think I would have preferred to imagine the sound of the insects of the outback than have it provided for me. But all in all this was a highly enjoyable production, with a tremendously moving climax. My favourite line has always been Mary Brenham's 'I love this!' at the very end. May such a sentiment continue to apply to the very worthy Dulwich Players.

Jonathan Kaufman
freelance director
previously Artistic Director of the Colour House Theatre, Wimbledon
and Co-Artistic Director of the Brockley Jack Theatre

Captain Arthur Phillip (Stefan Nowak) and Major Robbie Ross (Paul Sykes) represented the two extremes of the approach to the convicts taken by the authorities; Stefan representing the more liberal approach and Paul the “flog 'em and hang 'em” brigade, with the other officers falling variously between these two extremes. All the officers seemed to be comfortable acting in their period costumes and they certainly were a colourful group.

We were treated to some delightful scenes as various convicts put themselves – or each other – forward to act in the play. Andy produced a clear sense of the tensions of being a director of this difficult company and I'm sure we all laughed with empathy at his line that the rehearsals “didn't seem to be going very well”. Those playing the convicts had the challenge of acting people who themselves were acting, which can be a hard thing to pull off, but they did so with, for example, Mary Brenham (Severine Powell) coming out of her shyness during rehearsal. And whether it was Liz Morden (Rebecca Dallaway) as the toughened convict acting while under threat of death by hanging, John Wisehammer (Ed Langley) revelling in long words or Dabby Bryant (Izzy Tredinnick) talking about her beloved Devon (to name but three) they also managed to be quite different from each other while still coming across as a group of convicts.

Another aspect of the relations between the groups was provided by the relationship between Harry Brewer (Bill Bailey) and Duckling Smith (Lucy Passmore) – one of the more moving moments was Harry in Duckling's arms as he lay dying.

The action proceeds up to the opening night of the production; for this the scene is turned so we, the audience, are backstage with the cast. John Arscott (Steve Borrie) had the technically challenging task of giving his lines to the upstage of the set loudly enough to be heard clearly by the audience, a task more than capably performed. And finally there was the curtain call – which we presume was choreographed by Robert Sideway (Chris Harvey) based on his earlier actions in the play!

The play calls for a number of costume changes as many parts are doubled up – or tripled up in the case of Tracy Brook – and this adds to the technical challenges the company had to overcome to put the play on successfully. It was interesting to see the full width of the stage being used in conjunction with the muslin upstage wall, the shadowing and boundaries produced by this and the variety of lighting provided a very atmospheric setting (although the unmasked upstage doors were a little distracting).

I had not been not quite sure what to expect from this play; when my daughter had been involved with a production at her school she had refused to let us come and see it. However I thoroughly enjoyed the show and offer my congratulations to director, cast and crew for a rich performance.

Roger Orr

There's a strong field of firm favourites, the punters are excited, and the outcome hard to predict. I'm your guide and commentator for the evening as they line up for what promises to be a thrilling comic classic!

The curtain's rising on a course in excellent condition - yes, the crowd are giving a spontaneous round of applause to that inspired and industrious course architect, Mr Andrew Dickie!

The runners are drawn up at the tape. Among the seasoned entrants it's good to see a sprinkling of young juveniles. Let's hope these novice colts and fillies meet with sporting success! They look splendid with glossy coats and bright racing colours. Let's hear it for those divas of equine grooming, everyone's dream team of stablegirls, Ms Jane Jones and Ms Rebecca Dallaway!

Your starter today is Ms Severine Powell, ably assisted by a dedicated team of course stewards, Anita, Steve, and Jan. With such a line-up , we know things won't descend into farce!

They're under starter's orders - and they're away! Straight into the lead, with incredible speed, is that supercharged domestic, Beth (Ms Emma Sanders). Faster than a speeding Dyson, polishing for England you might say, she'll be a hard act to follow. She sounds like a West Country mare. Ooh, ahh miss, the things you do with that feather duster fair make my eyes water!

But challenging, in hot pursuit, here comes that firm colonial favourite Colonel Wagstaff (Mr Ian Jones). He won't stand for any bally nonsense - by gad, he's just charged through the first fence! Eye-popping, moustache-bristling, snorting like a stallion, he won't give an inch of turf to any young filly! This crusty veteran's a 'stayer' and no mistake!

Pulling alongside him is that thoroughbred domestic mare, Mrs Wagstaff (Ms Louise Norman). She's going along at a lovely canter - nothing seems to disturb her. Unflappable, imperturbable, an English domestic goddess equal to anything. She'll give her husband a run for his money!

Over the second, and the leaders are joined by a feisty young filly, in plimsolls of Persil whiteness, Susan Wagstaff (Ms Eorann Kavanagh). She's taking no prisoners - pert, prim and perfectly proper, even her pony-tails' got attitude! The crowd want to see her go neck and neck with a fine young colt - and here he comes! Soaring over the third in his Old School colours, it's that perfect English gent John Danby (Mr Matthew Neely). Clearly from a superior stable, gracious, charming, but a target for the turf's less scrupulous members, you can bet he'll run a straight course to the exit!

But what's this? The crowd are hooting with laughter. Coming on the outside, giving the nod to the pacesetters and crossing to the lead are a brace of incongruous nags, Alfred Tubbe and Fred Phipps (Mr Kevin Leech and Mr Paul Sykes) - as unlikely a pair of thoroughbreds as you could find on a course! Mr Tubbe, expansive, (wicked) avuncular, ludicrously ingratiating, he's clearly running under false colours! But even with form that crooked he's lording it over the others with obsequious ease. And, no more than a (tall) tail behind, his malapropistic mancunian amanuensis, Fred. With an accent as broad as his cloth cap, a bit 'daft' but with an eye to the 'mane' chance, he'd clearly do 'owt for a bob or two. The crowd are cheering wildly - the dodgy duo have stolen the lead! Looks like the race is in the (carpet) bag.

But, 'alf a mo, careering wildly out of left-field, it's that irrepressible 'ringer' for a comedy superstar, Flash 'Arry (Mr Adam Fairweather). 'urdling with ease, dropping aitches at a rate of knots, he's a 'jumper', by Jupiter!

With a check coat as loud as his voice, you can 'ear 'im coming over five furlongs!

It looks that these crooks have got the race stitched, sorry, all sewn up. But there's still one name on the card to beat them. It's that fluent francophone front-runner, Albert Polignac (Mr Fabian Liberski). Flowing with Gallic grace, effortlessly clearing the (linguistic) hurdles, he's a sure thing to a 'dead cert'!

But those despicable touts aren't having any of his 'entente cordiale'. They want to fix the race, nobble M. Polignac and skidaddle with the swag, the swine! Let's hope their evil schemes fall at the first fence. But they're pulling up with the Frenchman, and, oh dear, he's taken a tumble! (must have been that dry rot on the stairs). And here comes Fred Phipps - he's trying to speak French! The crowd are convulsed - he's runaway favourite in the comedy stakes! Oh, the other scoundrel has dropped his trousers. Must have been a bit sore in the saddle! Now someone's running on the course, gesticulating wildly. Is it a steward - no, it's a policewoman, Sergeant Fire (Ms Rebecca Sheeran). What's she shouting - 'No Sex Please, this is a race-meeting!' Her right arm's doing overtime - she wants to spoil the saucy fun. But the crowd aren't having it - they love a girl in uniform!

They're closing on the home straight and the pace is frantic! I'm joined in the commentary box by that distinguished connoisseur of the turf, Mr Frank Ralfe, whose distinguished tones and vast sporting knowledge have graced many a (dramatic) derby.

And dramatic this surely is! It looks like there's a 'runaway' but the jockey's trying to throw the race. The punters are furious, but look, here comes the field! Thundering down the final stretch, they're neck and neck to the final post. They dash across the line together, but it's too close to call. A real photo finish!

Someone's objected - there's going to be a steward's enquiry! The stewards are consulting, they've made their decision and - everyone's a winner! A remarkable result for this evenly-matched ensemble, and all credit to that highly experienced trainer, Mr Brian Burch, ably supported by his gifted assistant Ms Gemma Frost.

So, a remarkable day here at Dulwich. As the punters drift off happily into the night, it's time to congratulate the course technicians, Mr Nowak and Mr Adams. And Ms Morris for her expert management of the theatre, pardon, racecourse. So mark your cards for the next great meet at Dulwich. See you next time - in the Winner's Enclosure!

. It shows how the success of 'top girls' like Marlene, is achieved, at times, at the expense of their families and also, of less able colleagues. However, the play contains qualities of seriousness for the human condition and although painful in parts, it also has its humorous moments.

The play in two acts, contains a dinner party consisting of a group of women from the past, dining with Marlene, the modern woman, and telling stories of the difficulties encountered in their lives. An historical Girl's Night Out! The second part of the play consists of scenes in Marlene's office. This is an Employment Agency where clients are interviewed for jobs.

We then visit Marlene's background and home life. The sleazy provincial home from which she escaped. The sister who stayed behind to look after mother, and the girl 'Angie'.

The play had a large cast and the acting was convincing throughout. The first half, consisting of the group of historical ladies who were served by a waitress played by Clair McDonald, one of those silent parts where 'body language' showing patient resignation and contempt for those one serves, convey feelings more vivid than the spoken word.

In this scene also, the audience were hypnotised by the performance of Maria Whitehouse as Dull Gret, a Breughal character complete with horned helmet and dirty face, who ate everything offered and everything in reach. A memorably comic performance. Among the other ladies around the table, Jane Jones as Arabella Bird, the Victorian traveller, was a most convincing Scotswoman. Tracy Brooke, Jennie Francis and Graine Dunne, played the other characters with confidence and humour. They all wore their costumes with style.

The second half of the play, the scene in Marlene's office, takes place in 1980. Two of the staff, Win, played by Séverine Powell, and Nell, Rebecca Dallaway, keen on their jobs, but sceptical of their chances, gave easy and believable portrayals. Lydia Dickie gave a sympathetic and clever cameo as a woman who, although loyal to her firm, had been passed over for her male colleagues. And Katie Lipsidge, whose husband Marlene had superseded, gained sympathy when curtly dismissed by Marlene herself. These incidents showed clearly how times were changing.

Anita Blanchard gave a strong performance as the ambitious and unfeeling Marlene, showing at times a softer side that had to be suppressed.

Kathy Blackeby as Sister Joyce, toil-worn and disillusioned, gave a sincere performance as usual. The emotional scene between the two sisters when Joyce bitterly attacks Marlene for her selfishness, was outstanding. As 'Angie' and Kit, Lucy Passmore and Izzy Tredinnick, were extremely convincing. Their expressions and 'body language' of two young and difficult girls, was very true to life. We look forward to further work from them. The costumes, in the capable hands of Sue Grindley, both the historical and 1980's, were well suited to the characters and added to the effectiveness of the play.

The director, Sally Green, is to be congratulated on tackling a difficult play. The acting, all the details of scenery and sound, were well looked-after and the result was a most competent and interesting production.

Lorraine Greenslade .

The Creature seems to be Victor Frankenstein's 'shadow'. It has often been remarked that he is more 'human' than his creator. We can more easily empathise with his loneliness, and his desire for a mate, than with his idealistic and unsentimental creator, who, despite the noblest motives, seems determined to deny all there is of feeling, and instinctual pleasure. In fact, Victor (his name implies mastery over the forces of nature) is a rationalistic 'monster'. The forerunner, some would say progenitor, of that long line of 'mad scientists' whose rationalistic impulses have forced them to part company with their feelings.

Subsequent versions of the tale, in prose and film, have tended to emphasise a strong linear narrative. Hollywood images, featuring a certain old Dulwich resident, have left an indelible glamour, which is hard to shed. R.N. Sandberg's play is, to my knowledge, the first to challenge this. It often breaks the narrative flow to present a mosaic of relationships, with role-doublings and transformations, designed to stress the psychological nature of the tale. Despite the technical novelty it is closer in both spirit and detail to the book that Mary Shelley wrote. The dramatic innovations aim to give form to the modern insight that relationships are grounded in personal psychological conditions. The characters embrace or reject one another according to their expectations and values, often unaware of their subconscious prejudices. So Victor, with his idealistic expectations, cannot stomach the 'monster' who personifies his own repressed instincts and desires.

I felt the strength of this approach was for just this reason - that it shed light on the characters' inner lives. This was a valid approach, and the play as a whole was a strong effort to realise it successfully. My reservation is that some of the transitions came too swiftly, were signalled too weakly, to be easily graspable by an untutored audience viewing the play for the first time. My impression was of a rationalistic scheme, deeply pondered, that had yet to achieve fully mature theatrical expression. Some of the transitions, major ones, were convincingly explicit. Victor's bride, Elizabeth, turns into the Mate, who thus clearly expresses something missing from their relationship. On the whole, my suggestion would be that the playwright reconsider his 'creation' more from the audience's point of view. Are all the transitions strictly necessary? How can the meanings be made clearer to spectators accessing them in real time? How could the feelings of the audience be more deeply challenged and engaged? There is a valid sense of theatre in the play - it needs to be deepened, not abandoned. The emotional impact could be even greater.

The core of the play I thought was strong - that is, the relationship between the creature and his creator, and, beyond this, the relationship between Victor and Elizabeth, and between the Creature and his Mate. The final success of the play was that it made clear this was a tragedy both for the women and the men. The women because they are the victims of male blinkeredness, and the men also, who fall victim to their own frustrations.

The cast dealt well with the often intense writing and the complexities of the action. I feel the key for a text of this kind is to seize it by the throat. It's important to inject energy (like Victor breathing life into his creature), don't be afraid of emotion, and let rip with a passion which is vehement but controlled. Occasionally monotonous to start, I felt things came alive in the second half when the cast began to reach the desired intensity.

Bill Bailey was magisterial in a succession of patriarchal roles. He gave the play a powerful lift-off, setting that course of intensity required for sustained, romantic action. Jonathan Lloyd as Victor Frankenstein did well in the role of the tormented creator. Although as yet a little lacking in technique for such a demanding role I felt he successfully suggested the bewildered condition of a driven man unsure of his own motives. He spoke feelingly about his ambitions. Feeling is what you have to build on in this kind of play. At the end, his climactic show-down with the Creature was a powerful one. He should be encouraged to develop his talents.

Chris Harvey, as the Creature, had real gravitas. His was surely the voice of the play, making a heartfelt plea for tolerance and compassion. His well-articulated grief showed that even the instincts can speak in meaningful terms. In these post-modern times of ebbing rationalism it is becoming more common to find books with titles like 'Emotional Intelligence'. This Creature was both emotional AND intelligent, and we felt the full force of it in this sterling performance.

Rebecca Sheen was strong as Elizabeth, one of the two women in this play by one of the earliest female British novelists. We remember that Shelley's mother was Mary Wollstonecraft, the matriarch of British feminism. The play encapsulates the paradox that, despite their unusual strengths, these women are still unfortunate. Rebecca showed Elizabeth as a vital, active and resourceful person, despite her frustrations; we felt the full force of her tragedy when she at last succumbed to the brute force of the Creature.

Susanna Mayer was inspiring in all her roles. As the Mate, prowling round the stage with hollow-eyed, angular intensity, or howling with passion, she was clearly born to be the Creature's 'significant other'.

Congratulations to all the backstage team, who did excellent work supplying the flow of energy to the roof. Congratulations too to lighting man Jake - those sinister shadows were well in order. And our resident Goth DJ, Kevin, delivering an excellent session of Mr Stefan 'Oldfield' Nowak's haunting compositions.

Stefan should be congratulated for taking a risk and staging a novel and challenging play raising many fascinating issues - the imagination, Romanticism, scientific rationalism, feminism, the psychological basis of relationships, dramatic form. His production was lucid and simple; I felt that it achieved all that the play required. It generally flowed through freely to its logical, though tragic, conclusion.

Whether we like or agree with everything in a play of this nature I feel is not the point. The value of an unusual 'provocative' artistic product is just that - that it provokes us with its very 'monstrosity', forcing us to think - and feel, differently, question our prejudices, in short, confront our own emotional 'shadow'. What we condemn as 'monstrous', in life or the theatre, could so easily be the projection of our own, deeply suppressed impulses... (and how spooky is that?)

Finally (and I've saved the best for last) applause and admiration for our special effects team, Charles Stewart and Jean Olney, who had a wonderful opportunity with this play and seized it with both (hairy) hands. With the kind of gaping surgery that would have a trained nurse in stitches, Chris Harvey was made to look every inch the monster.

Jeffrey Greenslade

It was a pity that I remained in the bar instead of taking my seat early, because if I had I would have had time to read the notes so thoughtfully printed in the programme. I would then have discovered that the miserable Frankenstein, stranded on the arctic ice while pursuing the strange being which was his creation, relates his tale to his rescuer, at the same time mistaking him firstly for his father then his university professor. I would also have solved the other problem I had – how could he marry his 'sister' with his father's blessing? At the end of the play I posed this question to my neighbours. The problem was obviously shared by some, but my wife assured me she was his cousin. Well that's alright then. Actually the notes say she was an orphan adopted by the family.

R.N. Sandberg's drama, based on the Mary Shelley story is rather clever in hindsight; now that I've read the notes. Stefan Nowak is at pains to remind us that Sandberg's story adheres more faithfully to Mary Shelley's original than any of its film imitators. Well maybe that was the trouble. In the 'simplified' film versions the complexities of the original story are ironed out. Not so in this production. Stefan might, I suppose, have found a more difficult vehicle for his first production but I think he might have been stretched.

The demands of the playwright that one actor should play Walton/Father/Professor were met to the audience's satisfaction by Bill Bailey. He convinced us which role he was actually playing by skilfully using different voices – North American for Walton, German for the Professor and Home Counties for the Father. We were not so easily orientated by Susanna Mayer playing Mother/Justine/Mate who, while there was no doubt when she was playing the 'Mate', had the audience confused whether she was playing the mother or the maid – that was of course the fault of Mr Sandberg rather than Susanna. The fact that two of her characters were unlucky enough to be done to death did have the merit of simplifying the audience's dilemma! Jonathan Lloyd seldom looked comfortable in the key Victor Frankenstein role – a uniform expression of bewilderment for most of the play and his unfortunate habit of clonking around the stage a good deal of the time proved distracting. Rebecca Sheeran as Elizabeth, Victor's childhood playmate and bride rapidly thawed after a somewhat rigid start but was also unfortunately killed off just as she was getting interesting. It was actually Chris Harvey who played the monster who stole the show. Rejected by Frankenstein, his creator, and by all who see him, except his manufactured mate, he gained our sympathy and this of course was the motive of R.N. Sandberg who is drawing a parallel with the uncertainties of current embryonic research with which he is clearly uneasy. But with lines like “ I've raised a corpse from the grave to life” – “Gosh!” or “My womb is ravenous for your seed!”, can we take him seriously?

Not everything went right on the night – the already overlong suspense-inducing introduction was lengthened still further by a technical fault and the lighting in the first scene left half the stage in darkness; but some technical effects worked supremely well – especially the sudden appearance of the figure of the monster on the bed, which had been empty a moment before. To the director's credit, the action was smoothly performed and the audience carried along by the theme in this unusual, one might say experimental play.

Brian Green

The unfortunate late arrival of one of the actors delayed the start of the play and more crucially, seems to have affected the confidence of a few members of the company in the opening scenes. However, the audience was soon transported to the Padua of the 1950s, with peddlers, flower girls, café terraces and live guitar (Christine Dabrows), the latter somewhat drowned by the venue.

The plot is simple enough: Baptista (Roger Orr) will not agree to the marriage of his much pursued younger daughter, Bianca ( Siobhan Aarons), until his older one, the feisty Katharina, is spoken for. Enter Petruchio, complete with valet Grumio (Matt Nealy) and Vespa, in search of adventure, challenges and no doubt a healthy dowry. While Bianca's suitors assume various guises and /or change roles with their servants to get close to their love, Petruchio (Mike Cole) and Katharina (Rebecca Dallaway) engage in physical fights and a very fine battle of wills, ostensibly won by Petruchio, but only because she likes him! The first act ends with the forced marriage of Katharina but by the end of the play, it is happiness all around as Bianca weds her Lucentio (Andy Way) and Hortensio (Adam Fairweather) finds solace with his rich widow (Maria Whitehouse).

The protagonists were excellent, displaying a rare confidence in their tussles, body language and more intimate moments. The rest of the cast, some mentioned earlier, completed the job. Emma Sanders (Tranio), the servant turned master, abandoned her West Country accent and made us forget her female form, likewise Lucy Passmore (Biondello) introduced a “comedia del'arte” feel to her performance. Kevin Leech (Gremio), the unrewarded suitor, gave a dignified performance and it was with great pleasure that we saw the return to the stage of Wilf Taylor as the impostor father, involved in a walking stick duel with the real father Brian Burch. One must not forget Lydia Dickie (the seamstress), a good cameo character, Louise Norman (Curtis), gossipy and efficient housekeeper to Petruchio, the wedding guests and Café waiters (Ian Jones and Paul Sykes) who kindly reminded us to switch off our phones and signalled THE END.

Clearly, the unseen heroin was Jan Rae the director, who thought of the amusing details with her assistant Jane Jones, and maintained the pace throughout.

The play took a more magical feel in the second half, no doubt thanks to the fading daylight, aptly compensated by the lighting crew (Jessica Orr and Lynda Hansom).

Well done everybody, especially those who away from the limelight, are prepared to give hours of their time (and muscle power!).

The author did provide, in the programme, a very clear history of Gaudi's time, his work and the political troubles and conflicts which affected the city of Barcelona over the years that Gaudi endeavoured to build his Sagrada Familia.

A play such as this, based on a historical person recounting the various events of their life is naturally episodic and from the point of view of the audience was at times a little confusing. Until we became accustomed to the 'flash-back' method the author describes and had identified the 'boy Gaudi' with the 'man Gaudi', and began to sort out who everyone was, it took a little time to put ourselves 'in the frame', so to speak.

The actors, when presented with a historical subject have quite a challenge – here there was a different culture and persons set against a background of national turmoil that they have to try to understand.

Gaudi was well portrayed by Richard Thomson – he well expressed his frustration and obsession with his work, his lack of patience with his staff and his indifference to the feelings of those around him.

Gaudi as a young man was played by Thomas Bucher, a young actor, who gave a sincere and convincing performance of youthful ambition and impatience to succeed and was joined by Gaudi's only love, Pepeta, sensitively played by Siobhan Campbell. The scene of their parting was touching and sad.

The cast worked well together and helped to convey the atmosphere of the time. Actors well known to the Players' audiences took part and gave very convincing and competent portrayals. Stefan Novak, as Gaudi's assistant gave a very consistent and well-rounded character, as did Paul Sykes, Humphrey Fordham and Oliver Bailey as his long-suffering staff, three stonemasons whose trials and tribulations were at times heart-rending and also those of the wife of one of them, played by Maria Whitehouse, suffering poverty and the loss of her child.

Severine Powell, as Gaudi's niece, a lonely and frustrated young woman touched the audience by her bitterness and yearning for love and affection sought from one of her uncle's workers but sadly not to be.

The scene where for the first time she realises that the uncle she despises also had a lifetime of loneliness and lack of affection was sensitively and movingly played.

Her maid, played by Tracy Brook, was a performance of restraint and calm. She portrayed so well, dressed in black, a woman from a Goya painting, watching the pain and suffering before her but accepting it with a patient resignation. Supporting roles can be very moving and in this play were so essential to reflect the time and background of the action.

The Church, so much a part of the life of Gaudi, was represented by the Bishop of Vic, played by Ian Jones. He had the right demeanour of a man of the cloth, kindly and reverent but with a hypocritical streak. This meant he sought refuge when danger threatened – let martyrdom wait!

One of the highlights from the audience's point of view was the effort to give chloroform to one of Gaudi's employees and then cover his face with plaster to make a realistic mask. Gaudi wanted to make a sculpture that was true to life. However, out of fear for the ordeal the wretched man fainted and the operation couldn't be carried out. The tube, mask and bucket all stood ready in a 'Grand guignol' manner, but the audience's expectations were dashed – perhaps with relief – when it did not take place. One could understand Gaudi not being well-loved by his workmen.

Owing to the format of the play, it lacked a final climax especially on the part of the Gaudi character with whom we were most concerned. One got the feeling it was time to conclude and 'tidy up'.

This play was well-presented and was obviously the result of careful planning and hard work. Costumes, lighting and sound were most competent and attention to detail was impressive. A bonus was the playing of the Guitarist Christine Dabrowa – her playing both sweet and melancholic gave an introduction to the play and later before the second half which helped set the scene.

This was an interesting production. 'New writing' is always to be encouraged and when created and presented within one group of people it is an ideal way to work.

We congratulate Mike on all the research and hard work required to create this play. We wish him well for his future endeavours and look forward to his next presentation.

Somewhat unusually for recent Players productions the curtain was closed as the audience filed in – but this made the initial impact of the sitting room, complete with a vast expanse of green and brown stencilled wallpaper, all the better. I'm sure the set construction team could get plenty of work in the decorating trade should they find themselves with time on their hands. After the initial entrance the play seemed to have a slow start– although I think this was more to do with the playwright than the actors – but after the first five minutes or so it was well paced and had the audience captivated.

Reg (Adam Fairweather) and Sarah (Jane Jones) arrived with their belongings for the weekend at the old family home in the country and soon established the flavour that 'living together' meant in their case. I think we in the audience were just glad they weren't our parents….

Norman (Paul Sykes) slunk on in a subdued mood which was destined to change once the dandelion wine began to take effect later in Act 1. Who'd have thought one actor - and a bottle - could use almost the entire stage area? I think it was all acting, but given the strange green colour of the dandelion wine you began to wonder if the back stage team had been helping things along.

I was slightly unsure about the characterisation – based on the comments of the females in my group I wasn't quite persuaded that Norman would be so attractive to all the women, although it became a little more believable as the play progressed.

Annie (Sally Green) expressed her ambivalence about going away for a weekend with Norman well and she somehow conveyed the sense that she was the inhabitant of this room and the rest of the cast were just occasional visitors (or perhaps in Tom's case there in body only). Oliver Bailey, playing Tom, portrayed the somewhat awkward vet in a highly believable way – not only by what he said, but also by his expressive body language which meant he always seemed to be standing in the wrong place, or to have too many arms and legs, or something.

In the second act the cast was extended by the arrival of Ruth (Kathy Blackeby) who was summoned by Norman's almost incoherent telephone conversation at the end of the first act.
I particularly liked the way her frustration with Norman and the soft spot she had for him alternated back and forth.

The choice of music throughout was very effective; it was also popular with the Friday night audience who could be heard singing along with the second half opener! The lighting was good and all the action was easy to see – but perhaps it could have been a little bit more adventurous about expressing the time of day. Overall it was a very successful production and I hope Lorraine was delighted with the results of her hard work as director.