Tag Archives: Suffolk Summer Theatres

The Prisoner of Zenda

reviewed at the Jubilee Hall, Aldeburgh on 7 August

Anthony Hope added a new word to the English language in  1894 – Ruritania – with The Prisoner of Zenda. The romantic adventure novel  was quickly adapted for the stage by Edward Rose (cast of thousands) and has been filmed countless times (likewise).

Mark Sterling’s version keeps the multiple settings, from palace and cathedral to forest hunting-lodge and gloomy castle dungeon but manages it all with a cast of seven. Tory Cobb has thrown in one of Suffolk Summer Theatre’s specialities (a train sequence) for good measure. Miri Birch’s costumes work better for the women than for the men.

The story concerns the disputed monarchy of one of those turbulent Balkan states sandwiched between two fading but still powerful empires – the Austro-Hungarian and the Ottoman – fiercely independent, proud of its traditions but wary of its neighbours. The about-to-be-crowned king is Rudolf V; his envious illegitimate half-brother Michael wants to take his place.

A proposed marriage between Rudolf and his cousin Flavia (who herself has a claim to the throne) is a further complication, as is Michael’s mistress Antoinette du Maubin. Then there’s Rudolf’s double, a folk-melody enthusiast from England, Rudolf Rassendyll. Not to mention Michael’s dashingly sinister wheeler-dealer factotum Rupert of Hentzau.

That hard-working cast take it all as seriously as it should do. Joe Leat’s double of the wine-addicted king and the English gentleman who takes his place at the behest of loyal Colonel Sapt and Fritz von Tarlenheim is very well contrasted, the one all sodden self-pity and the other reluctantly dashing.

Rick Savery is suitably sinister as Michael, though Saul Boyer didn’t (for me on the opening night) quite strike the right note for a man who takes such pleasure and pride in manipulating others. Clive Flint’s Sapt and Tom Slatter’s Fritz are stalwart in their military attempts to keep the monarchy in place, whatever their personal feelings about the incumbant.

In this version,  Amy Christina Murray as Princess Flavia has more to do than just be the decorative object of Rassendyll’s self-sacrificing love, an updating which works in the context. Sarah Ogley’s Antoinette is also more than her dark mirror image. Richard Blaine stages an excellent couple of sword fights, though the costume department could surely have provided sheathes for them when not in use.

Noisy scene changes will presumably quieten down and be slicker (too many glimpses of the people effecting them on the opening night) as the run and its transfers progress. One query – in the last meeting between restored king and his English saviour, why does Rasendyll have dark hair when he and the king have been much lighter throughout?

Four star rating.

The Prisoner of Zenda runs at the Jubilee Hall, Aldeburgh until 12 August with matinées on 10 and 12 August. It transfers to the Southwold Arts Centre between 15 and 26 August and can also be seen at the Theatre Royal, Bury St Edmunds from 6 to 9 September.

 

 

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Tom, Dick and Harry

reviewed at the Southwold Arts Centre on 1 August

Twelve years ago, attitudes were – if not more generous – less chauvinistically entrenched than today. Tom, Dick and Harry, co-written by master farceur Ray Cooney and his son Michael, has the attitudes to migration from conflicted European and Mediterranean countries, adoption and to the disposal of body-parts after research of that time, not of ours.

Director David Janson has wisely kept the farce to the period of its original production. The situation set up at the beginning is simple. Linda (Rosanna Miles) and Tom (Darrell Brockis) are expecting a visit from an adoption agency which will determine that their home will be a suitable environment and that they will be responsible parents.

Tom’s basic problem is dual-faceted. He and Linda are short of the cash needed to buy their rented house outright and he has one of hs layabout brothers Dick (Rikki Lawton) “renting” the top of the house. The third sibling Harry (Bob Dobson) just about holds down a job as a porter at a teaching hospital while inventing pie-in-the-sky schemes for getting rich.

Having borrowed Dick’s van for a cross-channel “booze cruise”, Dick has returned not just with contraband amounts of brandy and cigarettes but also a brace of stowaway Kosovan refugees – Katerina (Melissa Clements) and her grandfather Andreas (James Morley). All of whom, together with some purloined human remains, are littering up the house.

Mrs Potter (Claire Jeater) from the adoption agency is due any minute now. You can guess the rest, even up to the intervention of the local PC (Michael Shaw) and the intrusion of the people-smuggling capo Boris (Richard Blaine). It’s all fast and furious with the brotherly trio earning applause when miming attempts to communicate with the non-English speaking Kosovans.

Tory Cobb has kept the setting simple, with the all-important doors – you can’t have a farce without them and they keep stage management busy – and a flight of stairs behind a simple(?) sofa and armchair. Jeater has a nice line in pursed-lip affrontedness and Morley thoroughly revels in Andreas’ trumpet-playing and weakness for the bottle. But the evening belongs to Tom, Dick and Harry.

Four star rating.

Tom, Dick and Harry runs at the Southwold Arts Centre until 12 August with matinées on 3, 5, 10 and 12 August. It transfers to the Jubilee Hall, Aldeburgh between 14 and 19 August with matinées on 17 and 19 August.

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Murder Weapon

reviewed at the Southwold Arts Centre on 20 July

A weapon is usually something concrete. It can also be animal. Brain Clemens’ last thriller plays on this, with the story of a Paul (Clive Flint) found shot by his wife Diane (Amy Christina Murray) and her friend Jessica Bligh (Sarah Ogley), the county’s chief constable, as they return after a concert.

Under arrest is Charlie Mirren (Tom Slatter), found at the scene of the crime with a gun in his hand. An open-and-shut case, thinks Inspector Fremont (Rick Savery), especially as Mirren has recently been released from prison following conviction for the murder of his wife and children. No so, maintains Bligh, as she forces her colleague to re-evaluate the whole sequence of events and the people connected to them.

For instance, there’s psychiatrist Hugo (Joe Leat) who quickly establishes a rapport with Charlie on a scheduled visit to his consulting-rooms. The gun is obviously important, but what precisely was the context in which it was fired? The tension builds nicely in Andy Powrie’s production with the professional duel between Ogley and Savery well nuanced.

The set by Tory Cobb, brown with stained-glass window details, plays an important part in the action. Slatter’s portrait of a man struggling with his and his family’s past as well as his need for emotional support in his uncertain present and future is excellent. Leat has just the right combination of professional and personal arrogance.

Murray does suffer from the current fashion to whisper rather than enunciate. Modern theatre training and television have a lot to answer for in that respect Even small theatres when filled with an audience have a different acoustic to the same auditorium under rehearsal conditions.

Three and a half-star rating.

Murder Weapon runs at the Southwold Arts Centre as part of the Suffolk Summer Theatres season until 29 July with matinées on 20, 22, 27 and 29 July. It transfers to the Jubilee Hall, Aldeburgh between 1 and 5 August.

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Communicating Doors

reviewed at the Southwold Arts Centre on 5 July

Alan Ayckbourn’s Communicating Doors is on one level a farce with sociological bite, as expected from the modern master of that genre. On another, it plays with the notion of time, much as did JB Priestley in dramas such as Time and the Conways, Dangerous Corner and An Inspector Calls.

The action takes place in suite 647 of a London hotel owned by ruthless business-man Reece (James Morley) with his equally ferocious second-in-command Julian (Michael Shaw). We begin in 2037 with the arrival of a dominatrix called Poopay (real name Pheobe) played by Melissa Clements; her attentions are in response to Reece’s last wishes.

It transpires that both Reece’s wives have met untimely ends, first Jessica (Rosanna Miles) and then Ruella (Claire Jeater). In both cases Julian appears to have been the hit-man and he has no compunction about serving Poopay in the same way. Her escape through a door into a cupboard takes her into the same suite but, at different times, in 2017 and 1997.

Mark Sterling’s production keeps up a lively pace with the audience at times hard-pressed to follow at the same speed. Tory Cobb’s set and Miri Birch’s costumes work well in this context, as does the clever use of lighting (including laser shapes to indicate time changes) and shadow-play.

The cast brings commitment and a good understanding of both Ayckbourn’s words and the characters they define. Clements offers a rounded portrait of the girl from a children’s home who grits her teeth and gets on with earning a living. Miles and Jeater differentiate the two wives and the way their personalities develop over 40 years.

Bumbling in and out of the action is hotel security-man Harold, who Bob Dobson makes likeable even as the women manipulate him. Shaw has the lion’s share of the nastiness, and relishes every nuance of it. Morley’s role is in many ways a more difficult one, but his last scene with Pheobe has real heart.

Four star rating.

Communicating Doors runs at the Southwold Arts Centre as the opening production in the Suffolk Summer Theatres season until 15 July with matinées on 8, 13 and 15 July. It transfers to the Jubilee Hall, Aldeburgh between 20 and 29 July with matinées on 22 and 29 July.

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The Old Country

(reviewed at the Jubilee Hall, Aldeburgh on 23 August)

Like Shakespeare, Alan Bennett has written several of what might be defined as “problem plays”. In Bennett’s case, one of the most intriguing of these is The Old Country, which I first saw in 1977, when the actual events and characters here depicted through fictional characters, were more of immediate concern that they seem in 2016.

We’re on the verandah of a small house in the depths of the country, just the sort of place to which you can imagine any senior Civil Servant wishing to retire. Hilary (James Morley) and his wife Bron (Barbara Horne) are expecting a visit from her sister Veronica (Imogen Slaughter) and her diplomat husband Duff (Michael Shaw); they haven’t seen the couple since Duff achieved his knighthood.

Hilary and Bron do have neighbours – Olga (Melissa Clements), who is somewhat mixed-up to put it at its most simple, and her husband Eric (Bob Dobson), on the face of it just a happy-go-lucky sort of chap. But where exactly is this place in the country? and why is it, its occupants and their visitors under such surveeliance?

Bennett uses the gradual relevations of both personal and national aspects to the different characters to allow for some complex discussion about motivations, treachery and patriotism, pasts to be revealed and those which so desperately need to be concealed. People, Bennett seems to insist, have flexible loyalties, fluid as changes in international situations and issues.

What Hilary wants is, in spite of the speeches which Morley delivers with great conviction, as nebulous as any other artificial construct. Shaw and Dobson make much of their revelatory encounter in the second act while Horne gives a rounded portrait of a wife who sticks by her man, but isn’t afriad to point out where he falls short of her deserts.

Veronica is a slightly spiky personality, and no-one does stylish spikiness more accurately than Slaughter. Olga is in many ways the most difficult of the characters to pin down; her past not simply permeates what and who she is now but underlies Hilary’s shockingly crude summing-up – one of those moments in the drama when you realise that sympathy can perhaps be wrongly placed. Clements epitomises the small fry as victim.

The Old Country runs at the Jubilee Hall, Aldeburgh until 27 August and transfers to Southwold Summer Theatre between 29 August and 10 September.

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The 39 Steps

(reviewed at the Jubilee Hall, Aldeburgh on 9 August)

This new production for Suffolk Summer Theatres has been devised and directed by Mark Sterling from the Patrick Barlow tongue-in-cheek version of the John Buchan novel brought memorably to the screen by Alfred Hitchcock.

Though it may seem like a whole sequence of “based on…”, this staging does add a further dimension, with its introductory sequence from the film, multiple use of projections and some Hitcockian hommages – the music-hall is MacGuffin’s and the moorland chase has a pair of hobby-horse planes with their pilots plotting north by north-west courses.

The four main actors – Clive Flint, Joe Leat, Amy Christina Murray and Simon Stanhope – are supplemented by ASMs Kitty Dunham and Laurence Leonard who not only move the triangular pillars and furniture but join enthusiastically in the second act’s highland reel. They fully deserve their appearance at the curtain call.

Stanhope is our dashing hero Richard Hannay who, finding himself in London at a loose end, goes to the music-hall and thereby secures himself a perilously adventurous future. Murray whisks on and off a sequence of wigs and accents as the femme fatale whose appearance in Hannay’s flat triggers off the whole story, the feisty but not unflappable Pamela, the susceptible crofter’s wife and others.

“Others” sums up the multi-faceted Flint and Leat perfectly. Flint manages, with swift headgwear, coat and skirt changes, a positive galaxy of characters from Mr Memory and the crofter to railway officials, policemen, landladies and one of the duo of rain-coated, slouch-hatted, dark-glasses spies. Leat’s Professor Jordan provides a hilarious sub-Hitlerian tirade and one half of a Flanagen & Allen turn.

The 39 Steps continues at the Jubilee Hall, Aldeburgh until 13 August, transfers to the Southwold Summer Theatre between 15 and 27 August and to the Theatre Royal, Bury St Edmunds from 6 to 10 September.

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Cash on Delivery

(reviewed at the Southwold Summer Theatre on 1 August)

It may have been premièred 20 years ago, but a lot of Michael Cooney’s farce Cash on Delivery slides easily enough into 2016 attitudes. The central character is Eric Swan (Darrell Brockis), who is actually unemployed but desperate to keep this from his working wife Linda (Claire Jeater). She does have concerns about her husband, but they’re not financial ones.

The Swans have a lodger, layabout non-earning Norman (Bob Dobson), who has somehow managed to acquire a fiancée Brenda (Melissa Clements); they plan to get married at the weekend. There’s also Uncle George (James Morley), who is neck-deep in dodgy deals – not to mention Eric’s pyramid of social benefit fraud schemes, which is about to topple over.

The catalyst for all this is DWP inspector Mr Jenkins (Richard Bates), a man who does things by the book. In his case, the book is dictated by the formidable Ms Cowper (Erin Geraghty), not a boss to tangle with. Eric having claimed that one of his multitude of claimant persona has died, this has also brought bereavement counsellor Sally Chessington (Imogen Slaughter) to the house.

Slaughter gives a delicious portrayal of just the sort of slithery sympathy-oozing apparatchik no-one in real grief would want within a hundred miles. Brockis builds up the tension and the comedy skilfully as Eric’s complex of fraud nears collapse, matched by Dobson’s wide-eyed attempts to disentangle himself which simply result in him being drawn ever deeper into the proliferating deceptions.

Then there’s unctuous undertaker Mr Forbright (Paul Hegarty) and bemused psychologist Dr Chapman (Michael Shaw). The main furnishings of 344 Chilton Road, Mile End in Andy Powrie’s production designed by Maurice Rubens are a man-sized chest (almost an actor in its own right) and a number of doors to be slammed, locked, flung wide open at the most inopportune moments.

Cash on Delivery runs at the Southwold Summer Theatre until 13 August and transfers to the Jubilee Hall, Aldeburgh between 16 and 20 August.

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Murder By The Book

(reviewed at Suffolk Summer Theatres, Southwold on 19 July)

Writing is a solitary occupation; it can lead to depression and self-denigration. On the other hand, it has been known to develop into megalomania. The thriller by Duncan Greenwood and Robert King has as its central character a successful thriller writer whose lucrative part-time supplement to his earnings comes from writing vitriolic reviews of his competitors’ novels.

His secretary goes along with all this; his even-wealthier actress and somewhat libidinous wife has had enough. Divorce has been mentioned, but this has financial implications. It’s all a neat set-up for role-playing of many sorts, though Phil Clark’s fast-paced production never manages to make the characters anything other than pasteboard puppets.

Leyla Holley plays Imogen, a woman whose histrionics spill over from stage to drawing-room. Costume designer Miri Birch places us firmly in the Mary Quant/Biba era. Amy Christina Murray makes a pert Christine with Joe Leat as the exceptionally nosy next-door neighbour whose “Hurray Henry” façade is not quite what it seems.

Selwyn Piper, the concocter of mysteries at the centre of the drama, is Simon Stanhope with Clive Flint as his publisher John Douglas. They all take it as seriously as this sort of comedy-thriller requires, but – for me at any rate – it never quite jells. Perhaps you should blame the weather.

Murder by the Book runs at the Southwold Summer Theatre until 30 July and transfers to the Jubilee Hall, Aldeburgh between 2 and 6 August.

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Don’t Dress for Dinner

(reviewed at Southwold Summer Theatre on 6 July)

The Robin Hawdon adaptation of the modern French farce by Marc Camoletti proved to be a popular start to this year’s season of productions by Suffolk Summer Theatres. A last-minute substitution in the key role of Bernard due to illness aaw Darrell Brockis performing script-in-hand but still making the part his own.

Director Ron Aldridge and the season’s designer Maurice Rubens provide the necessary number of doors required by this fast-moving genre. Miri Birch’s costumes are clever, with a degree of satiny slink for Claire Jeater as Bernard’s wife Jacqueline (as set on an extra-marital affair as her husband) and a witty maid-to-mistress outfit for Imogen Slaughter as cook extraordinaire Suzette.

Slaughter provides one of the funniest characterisations of the evening, provoking a well-deserved exit round of applause. Michael Shaw bumbles engagingly as Robert, Bernard’s bachelor friend who arrives for a country-house weekend with possibilities – and finds himself overwhelmed by them.

The two men also sport an interesting collection of shirts and nightwear as three women on the warpath (poor Melissa Clements as Suzanne is something of a patsy in all this) find new uses for soda siphons and velouté sauce. I suspect that some momentary sags in the frenetic goings-on will be ironed out during the course of the run. As it stands, Brockis deserves a curtain-call all to himself.

Don’t Dress for Dinner runs at the Southwold Summer Theatre until 16 July and transfers to the Jubilee Hall, Aldeburgh between 21 and 30 July.

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September Tide

(reviewed at the Jubilee Hall, Aldeburgh on 26 August)

Daphne du Maurier is a writer whose name fills theatres – as well as emptying bookshop shelves. September Tide is set in the uncertain period following the Second World War when young men were liable for National Service, alcohol and certain foodstuffs were in short supply if not still rationed and England was having to accustom itself to a world which might look backwards with nostalgia but could never be quite what it used to be.

We are in Cornwall where Stella, a widow with grown-up children but still immensely attractive and charismatic, is eagerly awaiting a visit from her newly-married, London-based daughter Cherry. Cherry is a free spirit – something which she may have inherited from her mother, if not from her late sailor father – and you could describe her relationship with her new painter husband Evan as semi-detached.

If you know anything about du Maurier’s own life story, including her near-obsession with Cornwall, you can detect autobiographical elements as this three-cornered drama unfolds. The revised script is by Mark Rayment and Phil Clark’s production located it firmly in its period with no attempt to whittle away the moral issues propounded or their solution. The resolution is perhaps for us in the 21st century an overly romantic one, but attitudes to many things have changed over the past 50 or 60 years.

Eliza McClelland makes an appealing heroine as Stella, matched by Chris Clarkson’s domineering Evan a man as selfish as only those who are certain of their own genius can be. Light relief is provided by Jill Freud as Mrs Tucket, the indispensable “help”, and to a lesser extent by Michael Shaw as Robert, who hopes that Stella will one day agree to marry him.

Then there’s Rosanna Miles as Cherry, so insouciant on the surface but actually as uncertain about what the future holds as her elders – not to mention her hard-drinking husband. Too many of her lines, which are vital to the plot, seem to be thrown away – but that could just be the Jubilee Hall acoustics. Her younger brother, home on sick-leave from the Navy with a broken foot, is played by Harry Emerson.

September Tide runs at the Summer Theatre, Southwold until 12 September.

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The Titfield Thunderbolt

(reviewed at the Jubilee Hall, Aldeburgh on 10 August)

There was a time, more than half a century ago, when East Anglia’s market towns, as well as many across the country, each had a Station Road which lived up to its name. Then Dr Beeching swung his axe… now there are still plenty of Station Roads, but no station, let alone trains, to justify their nomenclature.

The famous Ealing film comedy The Titfield Thunderbolt was scripted by TEB Clarke and has been adapted for stage presentation by Philip Goulding. This new production by Mark Sterling has a wonderfully ingenious set by Maurice Rubens – whoever said that small-scale theatres can’t do spectacular? There’s a channel running across the stage to represent the railway track behind which the waiting-room and ticket office open in doll’s house fashion to reveal a vicar’s study and a pub bar area.

Nor is a train lacking – we actually see two of these, not to mention a somewhat decrepit bus operated by wide-boy Vernon Crump (Clive Flint). His son Harry (Rikki Lawton) is sweet on the vicar’s niece Joan (Amy Christina Murray) so afflicted by the classic duty versus love tug-of-war. The Reverend Sam Weech (Harry Gostelow) has his personal cross to bear in the shape of Joan’s retrobate father, his own brother.

The Weechs’ determination to save Titfield Station is matched by local landowner Lady Edna Chesterford (Sarah Ogley); after all, it was her ancestor who ensured that his property should be served by train. Crump senior aside, and he has a whole bag of crafty tricks in his capacious pockets, assorted men from the Transport Ministry descend with briefcases stuffed full with their own particular agendas. This being a very English comedy, there are no prizes for guessing what the end will be. The fun is in watching how that happens.

As I indicated, the set and its furnishings, including projections which take us through the countryside, are the real stars. The cast members do very well to hold their own against such opposition, bearing in mind that they are types rather than fully rounded characters. It’s episodic, which is due to the original film script, for which I suspect the copyright holders might be to blame.

But it’s a breath of rose-tinted nostalgia with never a whiff of analysis about it, and none the worse for that. And there’s even a couple of song-and-dance numbers arranged by Dick Walter and choreographed by Sidi Scott called The Ferroequinologist’s Lament. I don’t know about you, but that’s definitely a word previously alien to my vocabulary.

The Titfield Thunderbolt runs at the Jubilee Hall, Aldeburgh until 15 August and transfers to the Southwold Summer Theatre between 17 and 29 August.

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Out Of Order

(reviewed at the Southwold Summer Theatre on 5 August)

Westminster – that’s Parliament, by the way, not the Abbey – exerts a strange facination for us ordinary folk whose closest approach to its arcane mysteries is usually just through the ballot-box. We all know that odd things can go on in its corridors of power, let alone in various offices.

So Ray Cooney’s farce Out Of Order has been keeping audiences chuckling for several decades. Guest director David Harris has mounted his new production for Suffolk Summer Theatres with what one might describe as mainly the theatres’ resident repertory company – just what you need for a piece which requires ensemble playing of a high order.

The plot concerns junior Minster Richard Willey (Michael Shaw) who should be attending a critical debate, as he tells his country-living wife Gladys (Kate Middleton), but is actually holed up in the Westminster Hotel expecting an evening of unbridled sex with Jane. There is already a slight problem; Jane Worthington (Rosanna Miles) has a husband Ronnie (Rick Savery) and is secretary to the Opposition Leader.

Problem the second reveals itself in the person of a body (Harry Emerson) wedged between the balcony and the sash-window (keep an eye on that window – it plays a major if noisy role). Who can help our lovers? Probably not the hotel manager (Christopher Elderwood) or the waiter (James Morley). Instead Willey summons his PPS, the thoroughly repressed and mother-fixated George Pigden (Chris Clarkson).

Mrs Pigden’s nurse-companion Pamela (Eliza McClelland also arrives on the scene. Cooney runs every possible permutation on the ensuing situations, all with the deadly but hilarious logic which is the essence of farce. Harris stirs the mix adeptly as everyone in turn seems to find themselves either in the cupboard or the bedroom, on the balcony, in a wheel-chair (don’t ask!) and usually with or without their usual clothes. Guaranteed to raise yor spirits, whatever the weather outside the theatre.

Out Of Order runs at the Southwold Summer Theatre until 15 August and at the Jubilee Hall, Aldeburgh between 18 and 22 August.

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Anybody For Murder?

(reviewed at the Suffolk Summer Theatre, Southwold on 20 July)

You know that a thriller with Brian Clemens and Dennis Spooner as its writers is going to offer audiences a clever and slick couple of hours entertainment. This comedy thriller is no exception; but you do need to concentrate to keep the tangles of the plot from knotting themselves inextricably in your brain.

The plot in question involves two couples, the girl-friend of one husband and a beached-up writer of murder mysteries. Max Harrington, by his own admission a second-rate research chemist, and his wife Janet have bought a farmhouse on a minute and very remote Greek island. If they ever thought to live “the good life” there, that dream has already crumbled into dust. Just like the farm’s soil.

Neighbour and thriller writer Edgar Chambers has found inspiration as lacking as the Harrington’s farm’s fertility. Perhaps ouzo in large swigs might help. Meanwhile Max fancies getting rid of Janet in favour of the delectable Suzy Stevens. Then the Ticklewell couple materialise. Mary is vaguely related to Janet; her husband George is (to put it politely) a not very efficient lawyer.

They have brought news of a legacy, but who will get the lion’s share of the million or so dollars depends on which of the two women is the closer blood kin to the deceased. This is where everything really becomes complicated, with thrills and spills generating alternate laughs and gasps from the audience.

Director Ron Aldridge keeps it all on the move with Maurice Rubens’ set, especially the stairs, almost becoming a player in its own right. Sarah Ogley, a sort of cut-price Lady Macbeth in the making, generates much of the comedy with Harry Gostelow’s lanky, much-put-upon George her perfect foil. Rikki Lawton makes Max sufficiently personable to make his relationship with both Pamela Banks’ not-just-a-dumb-blonde Janet and Amy Christina Murray’s sexy Suzy credible.

And then there’s Clive Flint as Edgar. Edgar is a type many of us will have encountered in those places where expatriates gather. An author who is never going to make the big-time but gets by on royalties and churning out another pot-boiler whenever money for booze runs short. As far as the plot of Anybody for Murder? is concerned, he’s just slightly a red herring, but a very funny one.

I won’t spoil it for you by revealing how it all works out. Find that out for yourselves.

Anybody for Murder? runs at the Summer Theatre, Southwold until 1 August and at the Jubilee Hall, Aldeburgh between 3 and 8 August.

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How the Other Half Loves

(reviewed at the Southwold Summer Theatre on 8 July)

You can never take an Ayckbourn play at its face value. How the Other Half Loves was his second major commercial success in 1070; David Harris’ production which opened this year’s Suffolk Summer Theatres season sensibly keeps the 1969 setting for this typical blend of sharp social satire, surreal elements and a wryly compassionate look at what motivates people to behave in certain ways in situations partly of their own making.

The emphasis, as Ayckbourn likes to place it, is very much on the female condition. We meet the Fosters – lady-who-lunches Fiona and company manager Frank – and the Phillips – company man-on-the-make and new mother Teresa – share Maurice Rubens simultaneous living rooms.

These characters have enough complications between them without really needing the Featherstones – country mouse Mary and Welsh new employee William. That’s when the sexual, social and work permutations really start to create their own momentum. If you know Southwold’s summer Theatre, you know that the stage is quite small, though Rubens’ ingenuity works a miracle of visual stretching.

Small is the last word you could use to describe the acting with the balance between over-the-top (OTT) and naturalism beautifully balanced. Rosanna Miles is in turns funny and pathetic as Mary, the mouse who does eventually unsheathe her well-concealed claws. Eliza McClelland flounces and pirouettes in her chiffon and high heels to hilarious effect (the costumes are by Miri Birch).

Then there’s Teresa (Terri to her husband and friends). Marriage hasn’t turned out to be the bed of roses she probably expected a year or so ago; her husband is an autocrat, her son is at the teething, sleepless and whimpering stage, so everyday chores like housework and cooking are being relegated to a secondary status. All of which Kate Middleton makes utterly credible.

Bob does not like what his fun-loving but acquiescent wife has becomes one tiny bit. As Chris Clarkson amply demonstrates, the man is selfish and a bully. Physically Bob may meet his match in Rick Savery’s Will – but in many ways each is as thoughtless and liable to jump to conclusions as the other. Thoughtless, in the other hand, is not an adjective you can apply to Michael Shaw’s Frank.

Yes, the man is so absent-minded and easy to distract that you wonder how on earth he has reached his senior professional level. But there’s a steel core under all that fluff and his tenacity both provides the comedy as he becomes helplessly involved in marital and social turmoil of which he was partly the cause. When he turns the tables… but you really ought to see for yourself how it ll works out.

How the Other Half Loves runs at the Southwold Summer Theatre until 18 July and transfers to the Jubilee Hall, Aldeburgh from 23 July to 1 August.

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Summer seaside theatre – preview 1

East Anglia boasts three well-established summer repertory seasons. First of the mark this year is Suffolk Summer Theatres, founded by Jill Freud and now managed by Peter Adshead. The season begins on 8 July at St Edmund’s Hall, Southwold with Alan Ayckbourn’s How the Other Half Loves. It runs until 18 July and transfers from 23 July to 1 August at the Jubilee Hall, Aldeburgh.

it’s followed by a change of mood with the comedy thriller Anybody For Murder? by Brian Clemens and Dennis Spooner. That on between 20 July and 1 August in Southwold and from 4 to 8 August in Aldeburgh. Then it’s the turn of Ray Cooney’s fizzing farce Out of Order, at Southwold from 3 to 15 August and Aldeburgh between 18 and 22 August.

One of Suffolk Summer Theatre’s previous successes was the staging of The Titfield Thnderbolt by TEB Clarke, based on the class Ealing comedy film. it’s being revived at the Jubilee Hall between 10 and 15 August, then transfers to Southwold from 17 to 29 August.

The season ends with Daphne du Maurier’s September Tide, a family drama set on the Cornish coast which its author so loved. Once more this opens in Aldeburgh between 24 and 29 August before journeying up the coast to Southwold from 31 August until 12 September.

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