Weston-super-Mare
Dramatic Society
Murder at the Vicarage by Agatha Christie
Performed at Weston-super-Mare Playhouse : November 20th - 23rd 1985 including Saturday matinee
CAST
Rev. Leonard Clement GERALD WHITE
Griselda Clement PAMELA LINHAM
Dennis NEIL BAIRD
Mary MARY AMESBURY
Ronald Hawes (Curate) MICHAEL BILSON
Lettice Protheroe SHARON RAINES
Miss Marple JOY WILKINSON
Mrs. Price Ridley NAN HESS
Anne Protheroe LESLEY BLACKWELL
Lawrence Redding ROBBIE BURNS
Dr. John Haydock JOHN CLARKE
Inspector Slack JOHN BUTLER
P.C. Jennings NORMAN BRADLEY
PRODUCTION
Director ANTHONY LAY
Stage Manager BILL RIMMER
Deputy Stage Manager BARBARA SHAKESPEARE
Prompt EUNICE LAWRENCE
Properties DEAN LIGHTWOOD
Continuity JUDYTHE SMITH
Wardrobe EILEEN HATCH and SHIRLEY McMAHON
Set Design JOHN BUTLER
Publicity MARY AMESBURY
Lighting NORMAN TRENNER
Sound and Effects PETER MAGOR
Front of House
Photography GARTH D. SMITH
Costumes by EDBROOKE
Publicity Poster
(Back) Gerald White,
Robbie Burns
(Front) John Clarke,
Lesley Blackwell)
The Cast and Backstage crew of
"Murder at the Vicarage"
Robbie Burns, Joy Wilkinson
REVIEW - Bristol Evening Post Thursday May 23rd 1985 - LACK OF PACE IN MURDER MYSTERY
A friend of mine who is closely involved with amateur dramatics told me yesterday morning that Agatha Christie's whodunnits needed to be performed with plenty of pace.
Last night, the society showed it knew that. But despite producer Anthony Lay keeping the action moving fluently, fluffed lines and missed cues indicated a little more work was required.
However, there was still much to enjoy about this genteel period murder mystery revolving around the bloody demise of the much-disliked Colonel Protheroe.
Almost everyone, it seems, has a motive for committing the crime, including the famous amateur sleuth, Miss Marple, who stands to lose her home in one of the colonel's property deals.
Joy Wilkinson handles the Miss Marple role with confidence, while Gerald White and Pamela Linham make a convincing couple of the vicar and his wife.
Nan Hess is a splendidly formidable character as Mrs Price Ridley and John Butler is a stoical police inspector trying to unravel a web of intrigue.
The rest of the cast make useful contributions to a play which runs until Saturday. Andrew White
REVIEW - Weston Mercury, Somerset & Avon Herald Friday May 24th 1985 - 'PRODUCTION HOLDS THE ATTENTION'
Brisk and effective presentation and a batch of fine performances were the hallmarks of Weston Dramatic Society's Murder at the Vicarage at Weston Playhouse.
I wondered why the group saddled up this old war horse as there must be less cliched scripts around, but the actors shone through the creaks in the play.
Producer Anthony Lay's tersely knit, film-like scenes papered over the gaping holes in plot and structure and he drew sharply realistic performances.
Each actor performed with a lack of selfishness that contributes to the production's taut rhythms and a stylishness that etches the characters on the mind.
Laurels of the night must go to Robbie Burns and Pamela Linham - who gave fine performances.
Relaxed, stylish, concise Robbie created a totally convincing character as the artist Lawrence Redding - the central rivet of the production.
Pamela (as Griselda) is a warm-hearted down-to-earth girl, all street-wise and fresh perceptions. Like a piece of porcelain, her brittle toughness, range and subtlety were at once eye-catching.
In the first half a number of the cast seemed transfixed by the stereotype they had landed, but this stiltedness eased by the second half.
A sharp, but veulnerable, Miss Marple was well portrayed by Joy Wilkinson as an eagle-eyed busybody. Forthright characterisations from Nan Hess as the British Raj spinster, Lesley Blackwell as the widowed aristocrat and John Clarke as the rotund doctor set the tone.
The set was a slick piece of work by John Butler, which oozed post-war middle class and enabled the audience to wallow in Agatha Christie's complacent creation and sly manipulation.
The creaking structure and lack of cohesion in the middle of the play could easily have caused problems; that the production as a whole holds the attention is no mean achievement.
Final performances are tonight at 7.45pm and tomorow at 2.30pm and 7.45pm. P.G.
ADJUDICATOR'S ASSESSMENT
NAME OF SOCIETY Weston-s-Mare Dramatic Society
NAME OF PRODUCTION "Murder at the Vicarage"
VENUE The Playhouse, Weston-s-Mare
DATE 24th May 1985
ADJUDICATOR Mrs Ula Rigg
Agatha Christie's plots are incidental in comparison
to the characters she depicts, it is therefore
important that these should be sharply drawn and
intelligently interpreted if the play is to succeed.
A sense of the period of the play is also a great asset.
ARTISTIC PRESENTATION
CHARACTERISATION
THE REV LEONARD CLEMENT
A stronger character than the script stated but this was no bad thing as he gave individuality and energy to the part. A first class voice, distinct and quietly authoritative. Perfectly at home in his surroundings and in his relationship with the rest of the cast, especially his wife. A sterling performance.
GRISELDA (his wife)
Well cast, she certainly lived up to the needs of the role. Pleasant, musically modulated voice. Versatile, able to highlight both comedy and drama. Her love for Leonard was so convincing. A sensitive portrayal.
DENNIS
Looked right but was rather weak in character and voice. Work hard to improve your technique.
MARY (the maid)
Natural, full of bounce and fun. Made the best of every line. Her obsession with 'wireless' programmes was utterly believable. Always on cue and eager to get on with the action. Clear 'country' voice - a thoroughly enjoyable performance.
RONALD HAWES (the curate)
Make-up and costume good. Just be a little careful not to overplay the character or it can become laughable. His best moments were in Act I Sc II and with Lawrence before he took the tablets in the last act. Mannerisms in keeping with the npart. Try to improve vocal projection. Promising.
LETTICE PROTHEROE
Dressed attractively and in period but the character lacked definition, especially vocally, it was very difficult indeed to follow her dialogue. She was supposed to be 'ethereally vague' but not to the exclusion of the voice, particularly as she was a vital cog in the wheel of the plot. Movement somewhat stilted.
MISS MARPLE
Carefully studied, rehearsed and presented. A free ranging voice, convincing inquisitive nature, benign expression and relevant movement. An accomplished listener, always stressed the plot to advantage and left the audience in no doubt as to her part in the story. An admirable Miss Marple.
MRS PRICE RIDLEY
A great contrast to Miss Marple. Straight out of the British Raj. Fruity, well projected Memsahib's voice and colonial manner (complete with 'tussore suit'). Very amusing at all times. Memorable work.
ANNE PROTHEROE
Elegant, nicely dressed in the style of the period. Plenty of vocal variety. Time and paced her lines skilfully. Had believable relationships with her lover and step-daughter. An intelligent portrayal.
LAWRENCE REDDING (an artist)
Captured some of the charm and ruthlessness of the character, however the vocal projection was not always consistent and occasionally faded away at the ends of lines. Moved with ease and confidence. Perhaps his costume could have given more of an impression of being an artist in colour and style.
DR JOHN HAYDOCK
Looked the part but general pace and timing was hesitant and insecure.
INSPECTOR SLACK
As far as appearance goes he certainly was an energetic 'arm of the law' but unfortunately his voice did not match up to the role, it was rather too studied. He stressed the plot clearly and was always on cue. A brave attempt at a difficult character.
POLICE CONSTABLE JENNINGS
Good. (Hair too long for the force in 1949).
PACE AND TIMING
The general pace was good but the timing was rather erratic. Two thirds of the characters made good use of the parting shot, in particular, Mary, Miss Marple and Mrs Price Ridley. (See overall Production notes about, end of Act II).
TEAM WORK
Very good indeed, especially within the Vicarage's household.
WARDROBE AND MAKE UP
Care had been taken to ensure that the costumes fitted in with the period - the ladies were particularly good. There were some nice touches, e.g. Dennis's Fair Isle pullover, Lettice's yellow anklesocks and Mrs Price Ridley's suits. Leonard would have worn a high dog collar and the brim of Inspector Slack's trilby was far too wide. The make up was artistically applied worth a special mention, Ronald Hawes and Inspector Slack.
TECHNICAL PRESENTATION
LIGHTING
Imaginatively plotted and presented throughout, effective - the gloom of the thunderstorm and when it was lifted by a good cue and the stage was flooded with light. Well done.
PROPS
Excellent, completely in keeping with a country vicarage of that period. All the personal props had been selected with care. Good.
EFFECTS
The bird song, the distant storm, the church bells and the sounds of evensong all helped to achieve the necessary atmosphere for this well-known thriller - well done.
STAGE MANAGEMENT AND DECOR
The former was quiet, efficient and effective throughout and production. The set was a perfect example of a vicarage study. The 'Gothic' arches were superb and gave the room an impression of age. The two main entrances were well placed, particularly the French doors backstage. The whole place looked comfortable and 'lived in', a great compliment to the sets designer.
OVERALL PRODUCTION AND ACHIEVEMENT
Berlioz's 'March to the Scaffold' made an ideal and appropriate piece of incidental music.
The play began strongly with the characters onstage establishing their individual personalities and roles in the plot. There was a nice intimacy around the dinner table, with Leonard presiding and accepting Mary's and his wife's shortcomings. The unappetising meal was jollied along by Mary's amusing asides. When Lettice came onstage she did not place sufficient emphasis on her part in the plot in complete contrast to Miss Marple's and Mrs Price Ridley's strong characterisations. They clashed comically as they both staked their claims for running the garden stall at the parish fete. The problem about Co. Protheroe's manner and interference was well stressed. Mary also kept up the pace. The argument offstage between Miss Marple and Mrs Price Ridley was good. When Lawrence made his first appearance his easy style carried his scene with Lettice but their personal involvement needed a little more emphasis. The two gardening rivals gave the first scene a snappy ending. At the opening of Scene II Mary's reaction to the dead Col. Protheroe was too subdued, her ebullient personality called for a piercing scream. Leonard showed shock and concern, the doctor was rather phlegmatic. Ronald Hawes reaction was amusing, especially his 'He shall reap as he has sewn'. Inspector Slack made a brisk entrance into the plot and listened attentively to the statements of the various characters. Miss Marple quietly but intuitively took the Colonel's demise in her stride and sat in the background absorbing all that was being said. Mary stood up to Inspector Slack's questioning with aplomb. The grouping was particularly good, especially when Griselda, Dennis and Lawrence joined the scene. The cross questioning between Inspector Slack and Lawrence was quite dramatic as was the dialogue over the gun. Unfortunately Lettice and Dennis were not always easy to hear at the start of Scene III but Leonard saved the situation and came to the rescue vocally. Griselda looked so composed as she sat discussing the Colonel's murder with her husband. Miss Marple's pace was varied during her scene about Lawrence's 'confession' to the murder. Mary's reference to the shot from the woods was clearly stated to Inspector Slack. Mrs Price Ridley was impressive as she explained about the anonymous telephone call she had received and she followed this by one of the best exits in the show. The plot developed convincingly when the 'duel' confessions of Anne Protheroe and Lawrence did battle with each other. Everyone listened very attentively - Anne in particular always thought before she spoke. The timing was very good as Miss Marple tried to intervene (eventually successfully) about the mystery of the gun. The grouping again was imaginative as Miss Marple told the Inspector about Anne's movements during the time of the murder, a thriller atmosphere was extablished as Anne made her exit and the Inspector again questioned Lawrence about the gun. Griselda's agitation at the beginning of Act II Sc I about Mary's leaving was well drawn, she and Leonard were so well matched. Mary conceded amusingly to Leonard's request that she should stay. On Miss Marple's next entrance she cleverly planted the first seeds of doubt about Griselda's involvement with Leonard. The mystery of the gun was again highlighted by Lawrence (his voice could have been stronger here). Miss Marple's 'human nature' exit was good. There was some relevant interplay between Lawrence and Anne at the beginning of the final scene but Lettice could have made much more of her lines - her 'Shakespearean' exit line completely misfired. She could have learnt a great deal about timing and speaking lines from Mrs Price Ridley, e.g. 'Getting older in the tooth'. Mary's confession about stealing he holiday souvenir' was very amusing and gave a little light relief at a dramatic moment. Griselda's discomfort over Lettice's missing beret and the train times was very well done. Mary made much of the 'sneeze' she thought she had heard. The business about the second anonymous letter to Leonard was effective, also the revelation of Griselda being at Lawrence's cottage during the time of the mjurder. The tension built up quite well during the telephone call about the 'sick' Abbot and this was followed b y a tautly played scene between Griselda and Lawrence. She was especially good displaying her varied acting ability to advantage. Lawrence slyly led Ronald Hawes into making a confession about the Church Funds and into taking a drug overdose. The pause was neatly held between Lawrence's exit downstage left and Miss Marple's discovery of the inert Ronald. There was a telling second of suspense as she took up the telephone before Lawrence's return. Miss Marple dealt with the pending climax of the plot with assurance and flair, she turned her moment of terror into a neat red herring (although Lawrence should have been more menacing). Anne's disenchantment over Lawrence was touching and her intervention between Leonard and Lawrence fraught with emotion, her subsequent death was tragically portrayed. It was a very great pity that the Doctor's word 'Dead' was sadly mistimed and brought laughter from the audience. It would have been better had he not said it at all and there been a quick curtain. Anne was on her feet before it fell completely, destroying the illusion that had been so carefully created.
There was much that was commendable in this production, the plot developed reasonably securely, it was always attractive to watch, the setting was most artistic and the technical presentation imaginative. Although most of the characters lived up to Christie standards others lacked conviction and this made the play rather uneven during the performance, do remember that every part is important, no matter how small, especially when playing a thriller, and they should always be cast within the capabilities of the company to be completely successful. ULA RIGG
Fringe Benefits by Peter Yeldham & Donald Churchill
Performed at Weston-super-Mare Playhouse : November 20th - 23rd 1985 including Saturday matinee
CAST
Isobel Hudson MARGARET HORLER
Colin Hudson ANTHONY LAY
Jim Nash CLIVE DARKE
Brenda Nash DORA KENNEDY
Doreen SALLY LAWRENCE
Fiona TESSA PITT
Richard SIMON HARVEY
(Back) Dora Kennedy,
Margaret Horler
(Centre) Clive Darke,
Sally Lawrence
(Front) Tessa Pitt, Tony Lay
PRODUCTION
Director LESLEY BLACKWELL
Stage Manager COLIN GOLDING
Asst. Stage Manager JACKIE GOLDING
Prompt EUNICE LAWRENCE
Continuity BARBARA SHAKESPEARE
Properties MARY HUGHES and BARBARA SHAKESPEARE Set Design JOHN BUTLER
Set Construction Society Members
Publicity MARY AMESBURY
Lighting PLAYHOUSE STAFF
Sounds and Effects PLAYHOUSE STAFF
Front of House
Photography GARTH D. SMITH
Furniture COURTS FURNISHERS
Clive Darke, Tony Lay
Sally Lawrence, Clive Darke, Tessa Pitt, Tony Lay
Tony Lay, Margaret Horler
Tony Lay, Clive Darke, Margaret Horler, Dora Kenndy
Margaret Horler, Simon Harvey, Clive Darke,
Tony Lay
REVIEW - Bristol Evening Post Thursday November 21st 1985 - LAUGHS LOST IN CORNY COMEDY
This corny comedy by Peter Yeldham and Donald Churchill was given a pedestrian treatment by the society on the opening night.
The principals seemed unsure not only of themselves but of the characters they were supposed to be portraying.
The crazy plot revolves about two husbands and two wives, sickened of Spanish holidays, who decide to deceive their partners and stay at home for their summer sojourns.
Unfortunately, many of the laugh lines in this production by Lesley Blackwell are lost.
While Anthony Lay works hard as a timid but would-be, philandering husband, Clive Darke tends to mumble many of his lines.
There are saucy performances from Sally Lawrence and Tessa Pitt as the two office girls and the statuesque Dora Kennedy and Margaret Horler add good fun to the play which runs until Saturday. Andrew White
REVIEW - Weston and Worle News Thursday November 21st 1985 - BEYOND THE FRINGE . . .
Weston-super-Mare Dramatic Society presented the Donald Churchill and Peter Yeldham situation farce 'Fringe Benefits' at the Playhouse last week.
Written as a classic farce, there were dropped trousers, scantily clad ladies and many more amusing incidents.
Comedy is the keyword in this play and after a rather slow start comedy is what it gave the audience with laughs all the way.
The story tells of two couples, the Hudsons and the Nashes who agree that this year they will take separate holidays, fine no problems until Jim Nash reveals that he has arranged a two week holiday with two young ladies from his office. From then on its confusion and laughs all the way.
Colin Hudson played by Anthony Lay, back to the boards after an excursion into production, was the star of the show and proved that comedy is a case of timing lines and actions to perfection. His wife, Isobel (Margaret Horler) gave capable support and after a rather shaky, quiet start, was more than adequate in the part.
Clive Darke as Jim Nash gave a good clear spoken performance and was ideal foil for Anthony Lay. Dora Kennedy as his wife Brenda, tended to underplay her part and was at times rather quietly spoken, however she does have very good stage presence.
Sally Lawrence and Tessa Pitt, as Doreen and Fiona, were excellent in their parts and did not 'go overboard' with effects or lack of dress.
Simon Harvey, as Richard, gave a very capable and smooth performance. These three young people certainly gave the show a sparkle.
John Butler is to be congratulated yet again on his set design, the company are very lucky to have such a talented man on their team.
Producer, Lesley Blackwell brought out the best in her cast and the splendid teamwork made for an ideal production.
REVIEW - Weston Mercury, Somerset & Avon Herald Friday November 22nd 1985 - FRESH IDEAS IN FUNNY PLAY
In Fringe Benefits Weston Dramatic Society have a very funny play. The situation is familiar - two husbands trying to seduce a couple of attractive girls without their wives knowing - but authors Peter Yeldham and Donald Churchill have a lot of fresh ideas.
It is not an easy play to do. Much depends on the inventiveness of players and producer to heighten the fun. The right timing and the pointing of a line are essential to carry the audience with you.
In this the husbands, played by Anthony Lay and Clive Darke, are adept.
The former is the one riddled with doubts. The latter is the smooth talker for whom the double meaning is stock in trade. These roles are foils to each other. Much of the success of opening night at the Playhouse was
due to their efforts.
They have some lovely moments together - the business with the telephone is quite hilarious. And what a lovely entrance by Mr Lay in fishing gear in Act II.
Dora Kennedy is the wife who also has a "fringe benefit" - a plumber who wants to learn French. This is a relaxed performance, perhaps underplayed at times, but an effective contrast to the second wife played
by Margaret Horler.
She comes into her own at the end in an effective scene which supplies the necessary happy ending.
Sally Lawrence is ideally cast as the sexier of the two girls. There is no doubt she is out for a good time. I liked the common accent which was not overdone. Tessa Pitt convinces as the not-so-worldly companion.
Simon Harvey is the plumber with a penchant for the older woman. He adapts beautifully to the fast-moving situation, taking advantage of anything fate has to offer.
Producer Lesley Blackwell has worked hard to excellent effect. Curtains were a bit slow on opening night, especially at the end of Act I when a quick finish was most needed, but no doubt that has now been put right. An excellent set by John Butler was spoilt only by a shaky banister.
Don't miss Fringe Benefits if you are looking for a good laugh. It continued tonight and tomorrow at 7.45, with a Saturday matinee at 2.30. The Society has chosen Agatha Christie's Cards on the Table, recently released for amateurs, for their Spring production. R.G.E.
ADJUDICATOR'S ASSESSMENT
NAME OF SOCIETY Weston-super-Mare Dramatic Society
NAME OF PRODUCTION "Fringe Benefits"
VENUE The Playhouse
DATE 22nd November 1985
ADJUDICATOR Miss Eileen Hartly-Hodder
ARTISTIC PRESENTATION
Production and Acting
The set was quite lovely - congratulations! A well-chosen, if slightly overlong play, pleased and enthusiastic, if oversmall audience. Some care had gone into the production which was usually agreeable to the eye, less acceptable to the ear, for pace, vitality and attack were too often lacking. I wonder how many of you in the company watched the South Bank Show a week or so ago, when Melvyn Bragg was interviewing several actors and actresses about their approach to the playing of farce? Over and over again, the importance of precision in the timing of the moves, gestures and words was stressed. It's often helpful to improvise on a difficult text, but in farce this is impossible, because the authority of the director and the technique of the company have to be absolute. Colin had a real sense of the style needed, several times using a 'double-take' to great effect and always making the most of his opportunities, from his first entrance to his 'business' with the fish, to his ridiculous struggle with his trousers and to the absurd moments with the telephone (where Jim also excelled). The two wives - in spite of well-contrasted voices - were less successful; Isobel stood and moved so badly, and Brenda tended to underplay. Doreen and Fiona brought some much-needed projection and life to their lines. The grouping was usually effective, though Colin, down left, blocked the entrance to the kitchen several times. 'Prompt' was given due acknowledgement in the programme - this is a very important member of the Company, who must never miss a rehearsal if she is to enter into the mind of each actor and actress - there was one very long moment for Isobel while she waited for her line.
Wardrobe and Make-Up
The clothes had been well chosen and all the girls looked stunning. I particularly liked Isobel's first outfit and Brenda's very pretty green dress, but all the colours were lively and blended in or contrasted sharply with the set. Do young plumbers really look like that? (Mine is still middle-aged and most respectable; I am evidently missing out on something!) The make-up was satisfactory.
TECHNICAL PRESENTATION
Stage Design was very attractive as well as being functional; all the colours were beautifully chosen and offered a delightful picture. It merits a particular mention, BUT for the fact that the bannisters wobbled so badly, thus immediately spoiling the illusion of reality.
Stage Manager He should have rectified this at the dress rehearsal. It was very strange that no one had done anything about it; a couple of nails would surely have put the matter right. Everything else was under control.
Props All beautifully chosen and correctly in position; the pictures on the wall were delightful and drapes and furniture just right for Baron's Court.
Lighting Everything was on cue.
Sound The one bell - was it the basement bell? - wasn't loud enough. The other was O.K. Telephone and music cues spot on.
INDIVIDUAL ASSESSMENTS
Isobel After rather a weak opening your work improved and by Act II you appeared to enjoy yourself. Do stand up; bad stance makes one's work so limp, and farce needs such enormous vitality.
Colin A very enjoyable performance with plenty of light and shade; you made him a convincing and amusing character and obviously relished the part. You understood the requirements of the genre.
Jim You contrasted splendidly with Colin, and always played well with him. You need to sharpen your performance at times and always to pick up cues smartly, but on the whole you understood the value of attach and vitality.
Brenda You needed to work much harder - always project to the back wall - you were sometimes inaudible at row H of the stalls.
Doreen At first you seemed a little nervous, but this soon wore off and by Act II you were really enjoying the part.
Fiona You were a delightful contrast to Doreen; you played sweetly, with a distinctive walk, and both looked most attractively young. Now both of you should pay more attention to technique before tackling farce again.
Richard Rather untidy work; you need to move more sharply and precisely at times. You understood and conveyed something if the character and situation.
Pace, pace, pace! Sorry to keep repeating myself, but it is the keynote to successful playing of farce; and it's not enough for some of the cast to attack in this way - everyone, even the least important character - must keep the pot boiling. The audience must never be given time to think - we must just enjoy the fun.
Thank you for your hospitality. Eileen Hartly-Hodder
Evening Post Rose Bowl 1986
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