Tag Archives: Terence Rattigan

The Winslow Boy

reviewed at the Cambridge Arts Theatre on 26 March

Acting, preaching and speaking in Parliament or a court of law all require charismatic practitioners if they are to have their intended effect. Rachel Kavanaugh’s production of The Winslow Boy makes this point very clearly, reinforced by Michael Taylor’s deceptively realistic set.

Rattigan based his play on an actual event, the theft of a five-shilling postal order by a teenage Osborne naval cadet and his expulsion as a result. The drama centres on the aftermath, as Ronnie’s family is (more or less) prepared to sacrifice all the comforts and status of its Edwardian life to clear his name.

Most productions make the barrister who accepts the Winslow brief as the dominant character. Timothy Watson’s Robert Morton certainly commands from his first entrance and crucial examination of Ronnie, but Aden Gillett’s Arthur, the irascible and increasingly physically incapacitated father, challenges him for the pre-eminence.

Both portraits are fully fleshed, allowing us to see the vulnerabilities as well as the strengths of each man. It’s fine acting, but it does put Dorothea Myer-Bennett’s Catherine, the suffragette daughter who sees that her stance must automatically negate her engagement to an Army lieutenant, into perhaps a more subordinate category than Rattigan may have intended.

Other rôles are nicely characterised, though the excellent actor Geff Francis is miscast as the lawyer Desmond Curry. Misha Butler as the younger son facing what could be the ruin of his future and Theo Bamber as the student brother whose enjoyment of Oxford’s social life is scuppering his chances of graduating suggest that they are two sides of a family coin.

Tessa Peake-Jones is suitably warm as Grace Winslow with Soo Drouet’s Violet as cuddly if stereotyped as servants almost always are in the well-made plays of the late 19th and early 20th centuries. Alistair David has devised some authentic-looking dances to evoke the early jazz-age. I do think though that Taylor could have found something just a little more dashing for Catherine’s much-lauded hat.

Four star rating.

The Winslow Boy continues at the Cambridge Arts Theatre until 31 March with matinées on 29 and 31 March.

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Flare Path

(reviewed at the Theatre Royal, Bury St Edmunds on 2 March)

The co-production between the Original Theatre Company and Birdsong Productions of Terence Rattigan’s Second World War drama Flare Path has been recast for its 2016 tour. Slipping a new cast into a production designed for a different set of actors is often an illuminating process.

Justin Audibert’s staging is straightforward with a semi-realistic set and costumes by Hayley Grindle. The min plot revolves around Flight Lieutenant Graham (Daniel Fraser), his actress wife Patricia Warren (Hedydd Dylan) and her former love film star Peter Kyle (Lynden Edwards). We are in the main reception room of a hotel near the air-base where the bombers and their crews are based.

The sub-plot concerns a Polish Flying Officer Count Skriczevinsky (William Reay) who seeks vengeance on the Nazis who killed his wife and children. He has remarried, a good-hearted former barmaid called Doris (Claire Andreads); theirs is a complex relationship and whether or not it will survive the end of hostilities is left open to individual interpretation.

Edwards makes the (now fading) screen heart-throb into a man who is outwardly assured but inwardly both needy and selfish. Fraser makes much of the big, ultimately very moving scene where Graham returns from an operation and admits the strain under which this puts him to his wife. Dylan and Andreadis both bring their characters to life and there’s an abrasive cameo of the hotel proprietor Mrs Oakes by Audrey Palmer.

There is comedy as well as drama in Flare Path, mainly provided by Sergeant Miller (Jamie Hogarth) and his wife Maudie (Polly Hughes). Reay for my taste doesn’t quite fit into Skriczevinsky’s boots; he plays for laughs which seem at odds with the driven essence of the man.

Flare Path runs at the Theatre Royal, Bury St Edmunds until 5 March with a matinée on 5 March. It also plays at the Mercury Theatre, Colchester 7-12 March.

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Filed under Plays, Reviews 2016

Flare Path

(reviewed at the Arts Theatre, Cambridge on 28 September)

Getting the on-stage nuances right for any historical period is a triple effort, shared between director (Justin Audibert in this case), designer (Hayley Grindle) and – above all – the cast. Rattigan’s 1942 drama Flare Path takes place in the lounge of a hotel near an airfield, from which bomber and fighter pilots take off for their nightly flights over Germany. It’s a mission from which far too many will never return.

The officers and senior crew members use it as a sort of club, an alternative to the cramped messes and briefing-rooms of the station. Wives also take up residence, both short- and long-term, to snatch a few precious days with their menfolk. Enter a film star, predatory cockerel in this hen-roost, though with his intentions aimed purely at one particular resident.

This is where the production lets itself down somewhat. Leon Ockenden fails to radiate the tinsel-town alpha male glamour of Peter Kyle – think Clark Gable or Errol Flynn – of the expatriate leading man who is seeing his studio’s reliance on his box-office drawing powers fading rapidly. The girl he wants is actress Patricia Warren (Olivia Hallinan), with whom he has had a passionate on-off affair and who is now married to Fl Teddy Graham (Alastair Whatley, the artistic director of production company Original Theatre).

Whatley makes much of his second-act admission to the terrible effect which the bombing raids are having on him, both for the physical danger he encounters and through the regular loss of men who have become more than usually close comrades. I was less convinced by Hallinan’s posturing; one never quite believed in the character as an actress or in her obvious appeal to two such very different men.

The smaller rôles are well taken, notably by Siobhan O’Kelly as Doris, the barmaid now married to a Polish count who lost his original family to the Nazis and is, understandably, focussed on revenge. Simon Darwen’s Sgt Miller, Philip Franks’ Sq Ldr Swanson and Adam Best’s Count Skriczevinsky are also well-rounded portraits of people as well as of types.

Hayley Grindle’s costumes look right for the clothes and uniforms of the period and her sts is an effective blend of naturalism and symbolism. The central acting area gives us the by now slightly battered lounge, backed by an enormous red-curtained window and with a realistic fire in the footlights-level hearth. But this isn’t a box set, such as Rattigan would have envisaged for the original prodction. Instead it’s flanked by a suggestion of twisted, blackened metal and a bare-branched tree. Dominic Bilkey’s soundscape is almost frighteningly three-dimensional as the aircraft take off – but don’t always land successfully.

Flare Path continues at the Arts Theatre, Cambridge until 3 October. It also plays at the New Wolsey Theatre, Ipswich between 19 and 24 October and at the Palace Theatre, Westcliff from 16 to 21 November.

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Filed under Plays, Reviews 2015