★★★

“It won’t rock the boat too much as it drifts along on its stream of witty dialogue pleasantly enough”

Published in 1889, Jerome K. Jerome’s “Three Men in a Boat” was initially intended to be a serious travel guide, with snippets of local history thrown in. But unwittingly, the author’s natural flair for comedy took over the narrative and Jerome found himself with an instant best seller on his hands. Since then, it has never been out of print and, even if not everybody has read it, most people are familiar with its title. It is simultaneously dated yet, quite rightly, resists being placed in a contemporary context. Instead, his style and influence can be seen in modern-day equivalents such as Bill Bryson, or more specifically Pete McCarthy. And even Tim Dowling owes his self-deprecating gift for focusing on the commonplace in part to Jerome.

Nothing much happens at all in “Three Men in a Boat”. That is much of its beauty, so to translate that onto the stage is going to be a tall order. Clive Francis’ adaptation moves it forward in time to the eve of World War I, although we only get a glimpse of this representation – albeit a powerful one – towards the end. The preceding couple of hours is a faithful reproduction of the book which doesn’t always translate into a particularly interesting piece of theatre.

We meet the characters: Jerome (George Watkins), his banker chum George (James Bradshaw) and the eccentric Harris (Sean Rigby) discussing their various, real and imagined ailments; the three actors quickly and neatly establishing the personalities of the odd trio. While none of them can decide quite what they are suffering from, they all agree that it has been brought on by overwork. A change of scene is what is needed. Sean Cavanagh’s authentically detailed set provides this by cleverly opening up from its Edwardian Kensington apartment into a nostalgic backdrop of the Thames riverbank. The three friends then cram themselves into a boat that is far too small for comfort (especially for the week-long cruise they are embarking on). It’s a good job their canine companion is imagined – its presence represented by sound alone.

We also meet some interesting and colourful characters along the way (lockkeepers, country-bumpkins, pub-locals, boastful fishermen), all played in turn by the three men in the boat. The technique allows for touches of farcical humour, and thanks to the performers’ versatility and swift shapeshifting, we are never confused. Director Joe Harmston relies on the device too much, however, diluting the dramatic impact. The narrative works best when the three men are just being themselves, and we are afforded personal access to their close-knit camaraderie. Yes, tempers occasionally fray but Watkins, Bradshaw and Rigby never let us forget the deep-rooted sense of loyalty and companionship that true friendship offers. The second act strongly reinforces that underlying message.

“To friendship and loyalty” they toast in the final moments. The tone shifts into a minor key as the hum of warplanes drifts from the horizon. It is a fleeting and poignant footnote. But overall, “Three Men in a Boat” is as comforting as a gently meandering tributary. It won’t rock the boat too much as it drifts along on its stream of witty dialogue pleasantly enough. Some of us might need something more challenging, but we all need every now and then the refreshing and easy-going escapism that this show has to offer. And the Mill at Sonning is the perfect setting for it. As Jerome K. Jerome writes in the book; ‘… it is the most fairy-like little nook on the whole river… more like a stage village’. You won’t be swept away, but it’s definitely worth getting on board.

CALENDAR GIRLS at the The Mill at Sonning

★★★★

“Innocently raunchy and with a feelgood factor as comforting as home-made plum jam”

‘We’re not naked… we are nude!’. This distinction is a playful leitmotif that runs through the charmingly English comedy-drama, “Calendar Girls”. That the debate can follow seamlessly from a discussion on the history of broccoli, or sit comfortably next to the stoical last words of a dying cancer patient, is testament to Tim Firth’s writing. Based on a true story that caught the world’s attention in 1998, the film release in 2003 was a global hit too; inevitably followed by the stage version which made its way to the West End. Sally Hughes’ revival at The Mill at Sonning is faithful to every note and nuance of the original, retaining the fine balance of humour and sadness without giving in to schmaltz or slapstick.

The story chronicles a group of women, members of the WI in a Yorkshire village. Following the death of Annie’s (Natalie Ogle) husband John (Andrew Ryan), the ladies decide to buy a new sofa for the hospital that treated John during his last days using the proceeds from their yearly calendar. Desperate to find a way of increasing its sales they hit on the idea of spicing up its subject matter by photographing themselves performing typical WI activities (baking, gardening, playing the piano, knitting… and so on) but naked (sorry – nude!).

We are in an authentically rural landscape peopled by down to earth, self-mocking Yorkshire folk that Hughes’ cast present as the real thing. The scenes follow the months and seasons over a year. From the women’s initial resistance to stripping off, then relishing the idea, through to milking it for all its worth and ultimately providing a far grander memorial to John than they could ever imagine. Of course, along the way we witness the personal confrontations and mini dramas of these individuals as they grapple with their fears and desires.

“Kitty Harris and Dawn Perllman compliment the company with dual roles, adding further light and shade to an already dynamic production that gently gnaws at our emotions”

Imperious and snobbish Marie (a delightful Elizabeth Elvin) leads (or rather tries to lead) the ramshackle, sometimes subversive group of women. Debbie Arnold’s sassy Cora conceals her own insecurities behind rebellious, bluesy piano chords while Basienka Blake’s Celia wears hers as openly as her sex appeal and glamour. Natalie Ogle, as Annie, convincingly captures the emotions of a woman recently bereaved, clashing and reconciling with Rachel Fielding’s Chris – the ambitious matriarch who’s hard coating shields a heart of gold. Sarah Whitlock, as Jessie, has some of the juiciest lines, matched by Ciara Janson’s initially timid Ruth who ripens into a sauciness that equals the others’ gaiety and glee at baring all (well – nearly all).

Only have half of the year’s months are captured on camera for the calendar, which shortens the pivotal scene in which the women find ingenious ways of preserving their modesty when shell-shocked amateur (a hilarious Oscar Cleaver who doubles as cocksure TV lackey Liam) is roped in as official photographer. In fact, we mustn’t forget the men in this piece, who do in fact carry much of the emotional burden on their shoulders. Steven Pinder, as Chris’ neglected husband Rod, holds a fragile and tipsy veneer over his own lonely struggles while Andrew Ryan’s John short-lived role captures the sad deterioration of the cancer victim with a vulnerable strength.

Kitty Harris and Dawn Perllman compliment the company with dual roles, adding further light and shade to an already dynamic production that gently gnaws at our emotions. It paws rather than hits. We purr rather than laugh out loud and our eyes glass over rather than shed tears. There is a reserve that is quintessentially British and that is utterly fitting for this interpretation. Innocently raunchy and with a feelgood factor as comforting as home-made plum jam. A heart-warming tale of people coming together, layered with humour and topped with a creamy layer of poignancy.

Tag Archives: Andreas Lambis

THREE MEN IN A BOAT

★★★

The Mill at Sonning

THREE MEN IN A BOAT at The Mill at Sonning

★★★

“It won’t rock the boat too much as it drifts along on its stream of witty dialogue pleasantly enough”

THREE MEN IN A BOAT at The Mill at Sonning

Reviewed on 15th June 2024

by Jonathan Evans

Photography by Andreas Lambis

Previously reviewed at this venue:

CALENDAR GIRLS | ★★★★ | April 2024

HIGH SOCIETY | ★★★★ | December 2023

IT’S HER TURN NOW | ★★★ | October 2023

GYPSY | ★★★★★ | June 2023

TOP HAT | ★★★★ | November 2022

BAREFOOT IN THE PARK | ★★★★ | July 2022

THREE MEN IN A BOAT