Tag Archives: Graham Weymouth

BEDROOM FARCE

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The Mill at Sonning

BEDROOM FARCE at the The Mill at Sonning

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“this vibrant revival offers many laugh-out-loud moments”

Based on a real-life incident in the author’s Stephen Joseph Theatre company in Scarborough, the comedy is set over the course of one Saturday night/Sunday morning in three different bedrooms. Wisely the director (Robin Herford, a stalwart of The Mill and an active member of Ayckbourn’s Scarborough based company, for just over a decade, earlier in his career) and designer (Michael Holt) have firmly set the show in the mid-1970s. Some of the language used, attitudes and relationships portrayed are decidedly β€˜of their time’, although have the ring of truth still.

Three married couples, linked together with a fourth, by family, friendship and past relationships, ready themselves for an evening of enjoyment. The show opens with Ernest (Stuart Fox), obsessed with the damp patch in the spare room, and Delia (Julia Hills) dressing for an anniversary meal at their favourite restaurant. They consider themselves β€˜regulars as they go every year’. Delia wants to talk about their son Trevor (Ben Porter) and the β€˜bedroom problems’ he is having with his wife, the β€˜entirely unsuitable’, Susannah (Allie Croker). Both of whom are on the guest list for prankster newlyweds, Malcolm (Antony Eden) and Kate’s (Rhiannon Handy) housewarming party that night. As are Jan (Georgia Burnell), the β€˜much more suitable’ former partner of Trevor and Nick (Damien Matthews), her now husband.

Amidst the laughter there is exploration of what it means to be a married couple, the potential for infidelity and what a wife might expect to have to do to make a marriage work or the sensitivity of a husband’s ego. There is also a nod to the mental health pressures and potential victimhood within a relationship more talked about and taken more seriously today, perhaps, than fifty years ago. The more pragmatic β€˜shut-up and carry-on’ attitude of Delia contrasting with the lack of confidence and self-doubt of her daughter-in-law, who is portrayed well as a nervous, irritatingly bird-like creature, repeating her mantra of self-worth at every unobserved opportunity.

There is plenty of good physical comedy too. Largely around Nick’s incapacity due to a β€˜wrecked back’ meaning he remains at home alone in bed whilst Jan attends the party. This is added to through Malcolm’s attempt to prove himself, pitted against a flat-pack β€˜surprise’ for his and Kate’s bedroom. The β€˜coats on the bed’ of the party leading to an encounter between the former lovers, on which the rest of the plot turns, having earlier provided several moments of fine comic timing from Kate, still not ready as the guests start to arrive, being buried by the dozens of coats of the unseen guests downstairs.

The linchpin of Trevor, played with appalling self-obsession, belief and lack of awareness, wrecks not only the party, by fighting with Susannah, but also the night of Nick and Jan by descending unannounced to entirely unnecessarily apologise for his earlier actions. With Suzannah seeking her mother-in-law’s help disturbing the night of the older couple and the increasingly frenetic DIY that of the newlyweds, there is not much sleep for anyone. With Graham Weymouth’s quick and subtle lighting changes helping to shift focus across the three contrasting bedrooms on stage, the farcical element of the play alluded to in the title is enhanced well.

Ayckbourn is perhaps best known for his popular plays focused heavily on marriage in the middle classes and this vibrant revival offers many laugh-out-loud moments alongside a reassuring peek at earlier, seemingly simpler times that hints at the complications lurking below all marriages. You should see this production if you are content to laugh at yourself or those you know.


BEDROOM FARCE at the The Mill at Sonning

Reviewed on 9th August 2024

by Thomson Hall

Photography by Andreas Lambis

 

 

 

 

Previously reviewed at this venue:

THREE MEN IN A BOAT | β˜…β˜…β˜… | June 2024
CALENDAR GIRLS | β˜…β˜…β˜…β˜… | April 2024
HIGH SOCIETY | β˜…β˜…β˜…β˜… | December 2023
IT’S HER TURN NOW | β˜…β˜…β˜… | October 2023
GYPSY | β˜…β˜…β˜…β˜…β˜… | June 2023
TOP HAT | β˜…β˜…β˜…β˜… | November 2022
BAREFOOT IN THE PARK | β˜…β˜…β˜…β˜… | July 2022

BEDROOM FARCE

BEDROOM FARCE

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It's Her Turn Now

It’s Her Turn Now

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The Mill at Sonning

IT’S HER TURN NOW at The Mill at Sonning

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It's Her Turn Now

“the play as a whole is genuinely very funny”

Meeting for a secret liaison in the Westminster Hotel, Tory junior minister Rebecca Willey gleefully urges special advisor to the opposition, John Worthington, to put on his β€œjim-jams” in preparation for the night of adultery ahead. The champagne and oysters are already on their way by the time Willey pulls back the curtains only to discover a limp body hanging across the windowsill. Attempting to move the body out of the hotel suite and evade discovery, any plans for the night are completely derailed as Willey (Elizabeth Elvin), Worthington (Raphael Bar), and Mrs. Willey’s PA, Georgia Pigden (Felicity Duncan) are tangled in an increasingly ludicrous web of lies.

β€˜It’s Her Turn Now’, adapted by Michael J. Barfoot and directed by David Warwick, is a gender-swapped take on Ray Cooney’s classic farce β€˜Out of Order’. All of the action takes place in one room, a hotel suite set brilliantly designed by Alex Marker. A number of doors and, of course, the central sash window, allow the characters to revolve dizzyingly across the stage as Willey stands at the centre and struggles to maintain control as her life, and later her government, falls apart around her. This makes for some great moments of physical comedy, especially in Willey and Pigden’s manipulation of the corpse, and the play as a whole is genuinely very funny.

The central change replaces Cooney’s original male MP Richard Willey with the female MP Rebecca Willey, and the swap is quite effective, thanks in large part to Elvin and Duncan’s excellent performances as the conniving Mrs. Willey and the unfortunately implicated Georgia Pigden, respectively. The new dynamics that emerge refresh the play out of the overdone, and Barfoot’s writing plays on the swap humorously. That said, it nevertheless remains very safe, and somehow still manages to feel slightly old-fashioned: every swap, for example, is carefully carried through so that each romantic pairing remains a heterosexual one. The stakes are never really altered in any significant way.

“a refreshingly funny, well-acted and well-done take on the farce”

In a similar vein, despite a few moments of knowing wink-wink reference to the apparently perennially deceitful nature of politics, attempts at political bite are never really genuine: perhaps a missed opportunity, considering the not-so-distant memories of a certain health secretary. This is farce, however, and, while Big Ben looms through the window, the play never purports to be political. Our attention must instead be focused on the microcosm of disaster playing out in this one room.

Characters are rapidly accumulated as Willey, Pigden, and Worthington embroil themselves in deceit. However, as the play progresses, the pleasure of the double-triple-quadruple bluff does dwindle, and the fast and sinuous plotting of the first act is somewhat lost as the play becomes bloated and unwieldy with its own deceptions. I especially thought that the early interactions between Nurse Foster (carer of Pigden’s aging father, played by Jules Brown) and Georgia Pigden were a missed opportunity. Had the writing been marginally less focused on deception here, this could be a genuinely heartwarming moment. Instead, by the time the play tries to use it for denouement, the interaction has somewhat lost its power and become just another half-truth.

While the ending doesn’t seem quite tied-up enough to justify the increasingly convoluted plotting, and while the production remains, on the whole, quite offense-less, this was, overall, a refreshingly funny, well-acted and well-done take on the farce, that just about manages to pull off the gender-swap without taking advantage of it for cheap jokes.


IT’S HER TURN NOW at The Mill at Sonning

Reviewed on 7th October 2023

by Anna Studsgarth

Photography by Andreas Lambis

 

 

 

Previously reviewed at this venue:

 

Gypsy | β˜…β˜…β˜…β˜…β˜… | June 2023
Top Hat | β˜…β˜…β˜…β˜… | November 2022
Barefoot in the Park | β˜…β˜…β˜…β˜… | July 2022

It’s Her Turn Now

It’s Her Turn Now

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