REVIEW - Western Daily Press Wednesday April 28th 1965 - SLOW SERVICE SPOILT THE FIRST COURSE

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THE MAN WHO CAME TO DINNER. Weston Dramatic Society.

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A comedy of bad manners depending on crackle and pop, this dinner party suffered slow service last night.

In fact it was well past the fish course before a well-seasoned Brian Morton-Hicks bearing a triumphantly tasty Beverley Carlton brought the meal to life.

Which was a pity because the man who really mattered most - Sheridan Whiteside - played by Paul Dening with a masterly memory for his lines, never completely ruled the table talk.

Mr. Dening had all the vindictiveness demanded of  the role - a Father Christmas figure spitting venom from snowy whiskers. But a little more variation of delivery would have raised his lines from mere petulance to incisive commentary.

Nina Rees provided an appealing Maggie and competent foil to Sheridan's nastier outbursts; Joyce Brooks wafted in and out with real artistry as Harriett; David Hemming showed a nice appreciation of caricature as Dr. Bradley; and Tony Hayman was his usual urbane and polished acting self as Bert Jefferson.                                                                       ERIC HOPKINSON

REVIEW - Weston Mercury and Somersetshire Herald Friday April 30th 1965 - COLOURFUL CHARACTERS AND OUTRAGIOUS FUN

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THE MAN WHO CAME TO DINNER' PRESENTED BY DRAMATIC SOCIETY

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The Man Who Came to Dinner has become a classic in its way. As in other plays by that successful pair, Moss Hart and George S. Kaufman, there is a host of colourful characters, but the role of Sheridan Whiteside is a solo tour de force.

For Weston Dramatic Society, the play affords fine opportunities for a large cast at Knightstone Theatre and the opening night audience applauded many of the rich, individual performances. But the play, of course, leans heavily on Paul Dening in the main role and, looking like George Bernard Shaw in a wheelchair, he is both irascible and charming in a thoroughly Shavian manner.

        Celebrities' Capers

It is impossible not to be entertained by such an outrageous piece of fun, however shocking the imputations about the moral fibre of some of the characters. There is no business like show business for providing good material for a show, and this play draws a wild picture of the caperings of celebrities, scattering well-known names like cigarette ash.

Sheridan Whiteside is a considerable influence. Hollywood and London are at his beck and call and, confined to a wheelchair by a broken hip, he has all his minions running round in circles, not to speak of an octopus in the bathroom and penguins in the lounge.

Paul Dening, bearded and fiery, roars his way most convincingly through this lively production, but he meets his match in his secretary, played with firm authority by Nina Rees.

        Effective Character

David Hemming contributes a most effective character in the walrus doctor, Bardley, and Joyce Brooks is quite fascinating as dotty Harriett Stanley. Tony Hayman presents a credible young American; his scene, after "celebrating" is especially good, with nicely timed lines.

Brian Pike leaves his appearance too late. His vivacity as Banjo badly needed earlier in the production, but he gives an excellent lift to the final scenes.

Glamour is added most attractively by a very svelte Mary Mee. As the star, she looks very tempting, but she might be more demonstrative over the hoax telephone call. She takes it all too calmly for a spoiled glamour queen. Brian Morton-Hicks is a suave man-about-town.

There are many other characters and many other players, and they all add vital pieces to the Hart-Kaufman jigsaw. There are something like 30 roles, not counting the penguins and the rest, and they are all ably presented.

        Empty Stage

Producer Kae Simms has been well-served, down to the briefest parts, by a large team, but too often she has left them with an empty stage or a sudden hiatus which is bad for pace and leaves people standing about not knowing what to do. The Act finales need organising, too.

Given this pace and smart cueing, the production will really get and set the seal on a very enjoyable piece of theatre.

Others taking part are Nan Hess, Jill Johnson, Arnold Strong, Penelope Johnson, Robert Cornish, Trudy Findlay, Hazel Church, Ian Gilroy, Bill Salisbury, Steven Bridge, John Butler, David Passmore, Malcolm Smith, Richard Hess, Andrew Findlay, Terry Stock and Richard Lewis.

The stage manager is Tony Hayman, assisted by John Hess; wardrobe mistress, Trudy Findlay; continuity, Hazel Church; properties, Ann Wiltshire; business manager, Peter F. Hess; publicity manager, Dorothy Horler.

The production continues to-night and to-morrow when there is also a matinee.                                                             R.M.D.