Tag Archives: Deborah Grant

The Case of the Frightened Lady

reviewed at the Palace Theatre, Westcliff on 18 June

Edgar Wallace’s 1931 play was an early example of those which have an investigative policeman at the heart of the action. His Chief Superintendent Tanner, as Gray O’Brien makes clear from his first entrance, is not a man to be trifled with.

His assistant Detective Sergeant Totti (Oliver Phelps in his stage début) is no mere sidekick but an active contributor to unravelling the murderous mess in which they become involved.

It all begins with a fancy-dress party at the home of the autocratic dowager Lady Lebanon (Deborah Grant). Her son (Ben Nealon) may have inherited the centuries-old title and the heavily restored family seat, but balks at settling down to responsibility.

That includes marrying his attractive but impoverished cousin Isla Crane (April Pearson), the title character. He is also at odds with most of his mother’s staff. They, to put it mildly, are an odd bunch.

Gilder (Glenn Carter), butler Kelver (Philip Lowrie) and housekeeper Mrs Tilling (Rosie Thomson) have their own spiky variations on one-upmanship. Denis Lill’s Dr Amersham is not quite the genial friendly practitioner initial impressions might suggest.

So it goes on in violence. Adapter Antony Lampard and director Roy Marsden keep the action flowing with scenes of activity intercut with personal verbal exchanges. The trouble is that we in the audience are so busy following the plot that we end up thoroughly bemused.

The transitions are akin to those in a novel or even a film. Lighting designer Chris Davey uses subtle shifts of light to indicate them but even so doesn’t really clarify anything. It’s all of its inter-war period but tries too hard for 21st century relevance.

Costume changes proliferate, with some neat touches to indicate status and seniority. Wallace knew his craft and perhaps it should simply have been taken as he wrote it. You can’t fault the actors; everyone takes it at proper face value. But it just doesn’t work.

Three and a half-star rating.

The Case of the Frightened Lady continues at the Palace Theatre Westcliff until 23 June with matinées on 21 and 23 June. It is also at the Theatre Royal, Bury St Edmunds between 30 July and 4 August.

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A Judgement in Stone
reviewed in Westcliff on 5 June

Ruth Rendell’s 1977 crime novel A Judgement in Stone is, like most of her work, a subtle in-depth exploration of what makes some people into murderers and how others react. Some thrillers translate well to the stage or film; others become blurred or somehow skew characterisation and motivation with over-simplification.

Simon Brett and Antony Lampard have written the script for this new touring production which is dircted by Roy Marsden, no slouch as far as the dramatised thriller genre is concerned. The excellent, almost dominating and realistic set is by Julie Godfrey.

There are four members of the Coverdale family in whose country house the story is set. They’re an urbane quartet – husband George (Mark Wynter) and wife Jacqueline (Rosie Thomson) who are both on their second marriages, his daughter Melinda (Jennifer Sims) and her student son Giles (Joshua Price). They have a long-term housemaid Eva Baalham (Shirley Anne Field) and a gadener-cum-handyman, the loose-fingered Rodger Meadows (Antony Costa).

As housekeeper they choose Eunice Parchman (Sophie Ward), a shuffling pent-up volcano weighed down by the proverbial shoulder chips. It’s a remarkably effective portrait of a sad, unlikeable woman whose illiteracy is only gradually revealed as th action progresses (Rendell tells us about it in the opening line of the novel). Melinda’s genuine offer to help will only rebound.

Almost rivalling Ward in the performance stakes is Deborah Grant as Joan Smith, a no-good girl turned into Bible-thumper in full blast-off revivalist mode. The story is told in flash-backs as Detective Superinendent Vetch (Andrew Lancel) and Detecive Sergeant Challoner (Ben Nealon) attempt to establish why the Coverdales were shot down while watching a telecast of Don Giovanni and who did it.

The detectives prowl on and off the stage as their enquiry progresses, or stalemates. The actual sequence of events as they unfold punctuates their investigation, which has a somewhat alienation effect, possibly intended but probably not. Wynter makes George and Sims Melinda into three-dimensional people while Price puts over the student with his mind on higher things very well.

Thomson tends to squeak rather than speak her lines. Neither detective comes over with any sense of authority until the end of the play when they home in on the murderer. Costa makes the most of his incursions into the manor-house; he is a recognisable type of the no-gooder who is always going to be a suspect – for one crime or anoher.

Three and a half-star rating.

A Judgement in Stone runs at the Palace Theatre, Westcliff until 10 June with matinées on 8 and 10 June.

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And Then There Were None

(reviewed at the Theatre Royal, Bury St Edmunds on 4 August)

Justice’s sword has always had two sharp edges, as Agatha Christie’s novels and plays wll demonstrate. None more so perhaps than And Then There Were None – both novel and self-dramatisation – which first appeared during the Second World War, and has had a variety of titles (depending on the shifting sands of political correctness) ever since.

We are in a palatial villa on a very small island just off the English coast in that febrile period between the two wars. Simon Scullion presents us with a stunning art déco set which wouldn’t disgrace Eltham Palace for this summer tour by Bill Kenwright and the Agatha Christie Theatre Company. The production is correctly given with two intervals, by the way.

As the apparently unconnected group of eight invited guests arrive on the island, to be greeted by resident houseman Rogers, his cook wife and the host’s secretary Vera Claythorne, it soon becomes apparent that the host and hostess are detained elsewhere and that the only thing to do is to wait in apparent isolation. Director Joe Harmston takes the opening sequences sufficiently leisurely to allow appreciation of the different characters to evolve.

By Act Two, the audience has been presented with a variety of clues as the tension builds after the revelation that all the characters have caused deaths and evaded the consequences. The question is, who wields justice’s sword? – Disguised ex-policeman Blore (Gary Mavers)? Retired general MacKenzie (Eric Carte) or former officer Lombard (Ben Nealon)? Or could it be Dr Armstrong (Mark Curry) or Mr or Mrs Rogers (Frazer Hines and Judith Rae)? Surely it cannot be either devout dowager Miss Brent (Deborah Grant) or stylish secretary Claythorne (Kezia Burrows)?

As lad-about-town Marston (Tom McCarron) is the fist victim of the “Ten little soldier-boys” riddle, it’s certainly not him. Why would it be former High Court judge Sir Lawrence Wargrave (Neil Stacey)? The only person not in the frame is local fishman and ferry owner Fred Narracott (Jan Knightley). Douglas Kuhrt’s lighting comes into its own at the start of the third act as the remaining guests wait for the next death by candlelight, which is brighter than the fading trust among them.

The cast is an excellent one, radiating that brittle mixture of confidence and uncertainties which one associates with the between-wars period. I’ve seen this thriller several times before but never with the ending offered here. Much discussion went on with the packed Bury St Edmunds audience in the intervals as to who the master-mind might be. Not one of my neighbours guessed correctly – and I refused to give the game away, then as now.

And Then There Were None runs at the Theatre Royal, Bury St Edmunds until 8 August, at the Arts Theatre, Cambridge between 24 and 29 August and at the Palace Theatre, Westcliff from 21 to 26 September.

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