reviewed at the Cambridge Arts Theatre on 12 November
What brings people together in a choir? Once they’re in it, what holds them – or drives wedges between the members? Actor-playwright William Gaminara takes a North Country village a cappella group which on the surface is united with its choir-master and shows what effect a newcomer may have.
Steven (Steven Pacey) is the choir-master in question, a musician whose own ambitions, like his life with wife Diane (Mary Stockley), are not just fading. They’re actively withering. There’s a possibility that an IVF-conceived child might revive and re-bind this relationship.
The other members of the group are thwarted thespian Connie (Sarah Earnshaw), her handyman husband Ben (Philip McGinley) and the new-to-the-area doctor Bruno (Stefan Adegbola). He’s a bright, career-focused Black man, mature enough to shrug off casual racism yet conscious of always being an outsider.
Into the village hall wanders Maggie (Ruth Jones), another newcomer and outsider. She is currently undergoing chemotherapy for suspected breast cancer and the group welcome her, feeling that the choir would itself have a positive and therapeutic effect. Her endless supply of home-made and purchased treats suggests that she’s happy to be included.
But is she? More to the point, is she really ill? And, come to that, is she telling the truth about her own family and past life? The questions push their way into the foreground while Connie pressures Steven into agreeing to enter the choir into a national competition. One she had dreams of being as celebrity. Is this a second chance?
Gaminara has written six good parts, the sort which actors love to inhabit, but not flesh and blood people. I could perhaps believe that Diane and Bruno might have an affair, that Connie will do anything for that elusive flicker called fame, even that Maggie is either a fantasist or a sick woman (or both), but I failed.
It’s no fault of the cast, notably Pacey and Adegbola, who have a confrontation towards the end of the second act which builds into real dramatic suspense. Stockley and Earnshaw make a good contrast, and McGinley’s happy-go-lucky Ben provides genuine light relief. Jones at times seemed to be as uncertain as Maggie herself.
Director Christopher Luscombe is well-served by Jonathan Fensom’s village-hall set and quick-change costumes. Music director Luke Bateman regales our ears with an agreeable sequence of unaccompanied song, from the devotional to the popular. These are all very pleasant decorations, but they hang on too flimsy a support.
Three and a half-star rating.
The Nightingales runs at the Cambridge Arts Theatre until 17 November with matinées on 15 and 17 November.