National Operatic & Dramatic Association

A Chorus Of Disapproval

THE PRODUCTION

Your programme notes again give a comprehensive biography of the author whose prolific output is already theatrical legend, not only for quantity but also for the quality of the scripts. A Chorus Of Disapproval maintains this quality. The play had its premier in Scarborough, (as ever) on 2 nd May 1984 and opened at The National on 1 st August 1985 winning three “Best Comedy” awards the same year. The film was released in 1988. Ayckbourn does not hang about.

STAGING AND SET

Because of the absence of a “set” the different scenes were indicated by changes of props and furniture. This was a disappointment having seen the great scenery for Sweet Charity, And because there were no identified location changes in the programme there were a few moments of uncertainty as to where we were.

LIGHTING

Not only was CHRIS DAVIES’ lighting very well crafted, the changes were excellent. You obviously reduced the lights for the scene changes but they needed to be lowered further.

SOUND

DAVID MARTIN provided such well-balanced sound that his work was virtually incognito. Both sung and spoken words were crystal clear.

COSTUME

This activity was similar with its low profile. ALISON NEWELL and CAROLINE RUSSELL had done a great job by choosing costumes that matched the characters perfectly, without falling into the situation where costumes speak louder than the actor, which is often the trap for the unwary when dressing a comedy. The identical outfits for Ted and Linda were inspirational, as was Mrs Ames’ hat. When Hannah started her affair with Guy her shoes should have been sexier. KAREN SYMONS obviously did a great job with the wigs. I didn’t notice who was wearing one.

THE CAST

Once again, THE CHORUS gave the principles superb support without exception and it was great for every member to have a name, even though it was a nightmare trying to identify everyone, so if your name is not subsequently mentioned you can be well satisfied with your excellent performance. It is difficult to act, sing, and dance “badly” but you made a brilliant job of it. Your concentrations and reactions were 100%.

REBECCA HUNTLEY PIKE

CAROLINE RUSSELL looked great and had great ability to play “vamp”. IAN AND FAY HUBBARD GINGE ANDERSON AND LYNNE IRVING gave great performances as the decadent, amoral couple who set up Guy and “friend” for a “swinging” night. They both played their parts with relish and created a situation by innuendo and very clever implications. The pictures on the forth wall and stage left were wonderfully described by the clever script which actually says nothing but relies on the actors to create the picture. And Ginge and Lynne did it really well. Ian and Guy holding their heads at an angle, to study the pictures was so suggestively clever and “Ill get Fay to show you” was beautifully thrown away. Lynn’s hysteria when she learned of her husband’s partner was a joy to watch.

DAYYDD ap LLEWELLYN

JEFF EALES has a powerful stage presence and is a highly talented actor playing the role with great enthusiasm. His changes of attitude and behaviour were well done but directors need to be careful when casting themselves in their own productions especially in the leading role. I expect PAUL GARRAT, as co-director, looked after Jeff’s scenes but there was not enough control applied and I wrote O.T.T. on more than one occasion. Ayckbourn does not need histrionics and Jeff gave us too many. This is not to detract from the fact that the character was built beautifully and was very funny. It’s just that sometimes Jeff went to far and was unable to see and correct his own faults.

DIRECTION

Which is where Jeff triumphed. Excellent positioning of groupings with slick entrances and exits did show control and thought. The rehearsal scenes had just the right number of mistakes and the bad acting and singing hit just the right level. The fight was a moment of superb staging and stood out as realistic, violent and faultlessly timed. The ladies “dance” was wonderfully choreographed and the final curtain was splendidly ragged (I do hope it was intended)

STAGE MANAGEMENT BY DAVID MARTIN

The show was late starting and the final warning giving “four minutes” should have been “one minute” which was why people were still coming in when the production had started. The announcer did the same thing at the end of the interval but corrected himself. There was nothing wrong with the scene change method but it was too slow. You either need more hands so more than one thing can happen at once or organize it better. People were taking something off, then bringing on its replacement. There were times during the scene changes when the stage was empty of any activity. It needed tightening up.

GUY JONES

JEREMY MILLS was excellent. His facial expressions, moves and gestures were wonderfully underplayed and he gave a great first impression of “the underdog”. His scenes with Dafydd were a great example of contrasts and his attempt at dramatic poses was hilarious. This performance maintained a consistent high standard throughout.

HANNAH LLEWELLYN

ALISON NEWELL’S first appearance in night-clothes and her wordless rapid exit were an example of wonderful timing and all her subsequent appearances built up a great characterization with accurate perception of the part. Alison delivered her lines beautifully and made intelligent use of pauses. This and her body language created an initially submissive wife but she was able to switch to her passionate side with just the right amount of restraint. Her final song was beautifully sung and was the climax to a faultless performance.

BRIDGIT BAINES

NICKY SHORT was very good indeed and her cynicism and exasperation came over brilliantly with her contrasting roles of stage manager and barmaid played to perfection. She played sexy and angry with equal talent but her kneeing in the groin technique should keep Elliott on his best behaviour.

MRS AMES