The Vortex
Noel Coward
.
Banned play still has the power to disturb.
Gulbenkian Theatre, Canterbury
When The Vortex, Noel Coward's first successful play, was written it was banned. Its themes of adultery and nymphomania and allusion to drug-taking were considered too immoral for the 1920's.
Now those things no longer shock the 21st century audiences, but The Vortex still remains a powerful and, at times, disturbing play because it's all about human relationships and frailties and those don't change with the passage of time.
It is full of Coward's wit and humour and has lots of very funny lines, but this is no lightweight play about the roaring twenties' upper classes.
Throughout it all, even the amusing exchanges, there is an undercurrent of destructive forces at work and the final scene between Florence and her son Nicky is not only compelling drama but emotionally draining.
Because of its contradictions The Vortex can't be an easy play to stage but Canterbury Players rose to the challenge and pulled it off magnificently.
The set and costumes were spot on, creating the period perfectly and the cast turned in some great performances.
Pretending
Ruth Cameron was a convincingly
adulterous Florence, forever chasing after men the same age as her son, pretending
to everyone that she was having a great time but revealing in the powerful last
scene that she was really a rather sad and unhappy woman, frightened of getting
old.
Anne Hancox, playing Florence's
friend Helen, was totally natural in the role and her facial expressions, even
when she was not involved directly in the action or dialogue, revealed many
of the undercurrents coursing through the play. Jill
Akhurst as Clara, gave another totally natural performance.
Tony Johnson played the
languid and camp Pawney to perfection, having many of the typically witty Coward
lines, while Peter Fox, as
the troubled Nicky, was especially good in the dramatic final scene when his
emotions really came to the fore.
Sadly there is not space to mention everyone but this was a powerful drama in which the whole cast rose to this difficult challenge.
Reviewed by Sian Napier
For Kentish Gazette.
KENTISH GAZETTE REVIEW OF CANTERBURY TALES Thurs July 1st 2010
Tales Prove Deliciously Relevant
The Canterbury Tales
The Canterbury Players
The Farmhouse, Canterbury
What do you get if you mix a three-course meal at one of Canterbury’s
best venues, some classic tales and a hilarious, tightly-knit troupe of performers?
You get the latest production from The Canterbury Players, a lively romp through
The Canterbury Tales at The Farmhouse.
The Canterbury Players left convention behind in the setting and style of
their interpretation of Chaucer’s timeless tales.
A stage mounted on one side of the restaurant stood expectantly while a delicious
dinner was served up to the audience. With the audience in high spirits, the
eight actors then took to the stage to provide the perfect after-dinner entertainment.
Chaucer’s comic Tales have lost nothing of their riotous, ribald entertainment
value (with a dose of morality thrown in for good measure).
Under Sarah Gooch’s
inspired direction, the Players pitched their performance perfectly to match,
drawing on the lively Commedia dell’Arte style and Medieval Carnival itself.
The show, though, was a real ensemble piece with the cast playing multiple
roles, bouncing ideas off each other and clearly having a lot of fun.
Music, modern references, bawdy physical gags – and even a race round
The Farmhouse on horses (well, coconut shells) – were all found in a version
of the Tales both faithful to the original, but also bearing Canterbury Players
own creative stamp.
One criticism: the modern rhyme that ran through the show reflected the Middle
English style and while providing plenty of verbal jokes, on occasion it could
seem a bit twee or monotonous, as anything might against the richness of the
original.
However, it set the pace for the evening, which became more and more energetic
(and outrageous), from The Pardoner’s moral tale of double-crossing and
murder, to The Wife of Bath’s account of “what women want”,
to the bed-hopping antics of The Reeve’s yarn.
The Canterbury Tales will be brought to life again at Lounge on the Farm (July
9-11, see www.loungeonthefarm.co.uk
for more details and to book) providing another great setting for a hugely enjoyable
show.
Reviwed by: John Prebble
Arsenic and Old Lace
By Joseph Kesselring.
Arsenic and euthanasia.
Canterbury Players.
Whitstable Playhouse. November 2009.
The euthanasia debate is given a comic angle in the house of the Brewster family
of Brooklyn and does so without a trace of offence.
Two sisters dispatch lonely old men with poisoned wine and have them buried
in the cellar by their deranged nephew Teddy, despite the horror of his brother
Mortimer.
Another nephew, Jonathan, returning after a career in crime, reveals a very
different penchant for murder. Tony
Johnson in this role was outstanding as was Jim
Akhurst as plastic surgeon Dr Einstein. Martha (Ruth
Cameron) and Abby (Jill Akhurst)
were captivating.
Andreas Lowson played Mortimer
with the paradoxical mixture of suavity and confusion which endears him to his
feisty fiancee Elaine, compellingly acted by Sally
Brown. All the actors demonstrated the hilarity of Kesselring's marvellous
play.
Reviewed by Nina Del Gedoe
For Kentish Gazette.
"TWO"
Our 2009 Summer Production was TWO, by Jim Cartwright: "TWO".
The play was directed by Sarah
Gooch, 2-4 July, 2009 at the @ The Gulbenkian Theatre, Canterbury, Kent
and at Lounge On The Farm.
Two by Two Adds up to a Powerful Drama
Originally this play had 14 characters and a cast of two – hence
its title.
In Sarah Gooch’s
production there was a full cast but with a minimal but effective set
and no props at all it must still have been a daunting enterprise. Nevertheless,
it was directed with indisputable success.
A lively northern pub is run by a married couple with a thorny relationship;
the audience had to imagine the presence of their thronging customers
but there are 12 whose lives are briefly but intensively portrayed.
Each of these characters was performed with a profound sympathy and there
was both pathos and humour in all their stories.
Outstanding among then was Jill
Akhurst’s old woman drinking her regular Guinness, the only
reward at the end of each day after caring for a senile and incontinent
husband. Akhurst gave her character immense pity, love and supreme dignity
despite the wretched details of her drudgery.
Another powerful scene had Lesley (Ellie
Gee) as the abused wife of Roy (Adam
Summers), a paranoid thing who has no hesitation in clobbering his
wife in full view of the other customers.
After the sour bickering of the two proprietors between the appearance
of their clients, a small boy enters, the catalyst who reveals the cause
of their disharmony. The unveiling of the suppressed misery of losing
their young son was the heartbreaking climax of the play and both Geoff
Dale and Sally Parker
were utterly believable in their desolation.
Diane Ogleden
"Play so powerful we forgot not to believe."
COLERIDGE observed that a "willing suspension of disbelief"
is needed when we frequent works of literature, particularly drama; that
is, we witness events on stage as if they were real and relevant to our
own existence.
Thus the best works of literature embody profound truths applicable to
everyday life. Indeed there are times when the acting on stage is so powerful
that we forget we are watching a play.
That is what happened on Saturday night at the Gulbenkian Theatre, during
a performance of "Two" by the Canterbury Players.
In one scene in a public house a man, Roy, was bullying his wife, Lesley.
He was verbally loud and sarcastic while she was cowed and terrified,
barely able to speak.
It was evident from the audible response from the audience that there
was a shared loathing for Roy and pity for Lesley.
Their scene came to an end when Roy struck Lesley a savage blow.
The theatre was shocked into silence and there was a considerable pause
before the clapping began. Even then it sounded restrained, as if applauding
would be a sign of approval for Roy's behaviour.
In other words, such was the power of the acting that it was like witnessing
hell itself. Well done, Canterbury Players.
In a letter from Brian Godden, to the Kentish Gazette. |
Bazaar and Rummage, by Sue Townsend.
Canterbury Players.
Whitstable Playhouse. March 2009.
The popular writer of the Adrian Mole books has set her play in a church hall
where a group of agoraphobic women is holding a jumble sale. It is a comedy
with underlying pathos which, in this performance, was poignantly unfolded by
six actors who are ostensibly on stage to entertain. And entertaining moments
there are in abundance, from each of the characters diverse personalities, as
well as the moments of latent pain behind their condition.
Anne Hancox played
Gwenda the (not quite) qualified but supercilious social worker in charge of
the event, and Louise Gibbins
was her assistant Fliss, still in training but well-intentioned and striving
to be sympathetic.
Katrina is the most obviously neurotic of the women and Sharon
Gair supplied plenty of humour, but not without revealing the pitifulness
of her situation.
Sally Parker was Bell-Bell,
a quiet and more dignified but forlorn widow whose husband has committed suicide,
and Ruth Cameron took the
outrageous part of Margaret, not really wanted in the venture by some of her
fellow-sufferers for, from the blast of copiously rich vulgarity of her first
obstreporous entrance to the comparative but heart-rending restraint as she
tells the wretched tale of her rape, she commands the stage, as did the actor.
Sarah Gooch was the brisk
police woman who appears briefly at the end of the play, and concluded a production
by Jill Akhurst which was
both hilarious and thought provoking.
Elaine Godden.
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| Shakespeare's
Much Ado About Nothing
performed by The Canterbury Players
at The Gulbenkian Theatre
|
Reviewed by:
Annie De Lodge.
Kentish Gazette.
Thursday November 20, 2008. |
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|
Much Ado About Nothing Review
|
Much Happiness About Everything
Elegance and simplicity prevailed in Derek
Standing's fine set and in Lesley Lindsay's and Sheila
Gibbins' beautiful costumes.
Innocence was the key in the delightful performances of Sam
Stolton and Ellie Gee
as the young lovers Claudio and Hero.
Complementing this atmosphere of 16th Century charm was the mature acting
of others in the cast, who gave a professional tone to the production.
Geoff Dale as Dominick
(Benedic) for example, was outstanding both in his comic spats
and his tender love scenes with Beatrice; not once did his command of
the role falter. |
Tony Johnson's
Leonato was a less dramatic part but was also consistently sympathetic
and convincing.
The bitter Don John, played by Andreas
Lowson was so sinister as to provoke a hiss from somewhere in the
audience and Adam Summers
was deliciously camp as Borachio.
Sarah Gooch, mistress
of comedy, could have given Beatrice a touch more subtlety, but
nevertheless commanded the stage in her scenes.
Nigel Banks played Dogberry
with relish and Phil Gittings
made Verges a wonderfully vacant halfwit but with an uncanny
visual resemblance to the Bard himself.
There were brief stately dances to contemporary music, with the exception
of some Rodrigo, but the guitar could, at a push, have been taken for
a lute.
Katherine Durio, already
recognised as a superlative actor in the Canterbury Players' production
of Blue Remembered Hills, has
proved herself a masterly director too, in this their latest impressive
production.
Annie De Lodge. |
|
Blue Remembered Hills
by Dennis Potter, Gulbenkian Theatre.
Reviewed by Sian Napier, Kentish
Gazette
Actors show the darker side of childhood
|
Blue Remembered Hills Review by Sian Napier, Kentish Gazette |
DENNIS Potter's tale of the loss of childhood innocence in the hills and woodland
of rural England during the Second World War throws some difficulties in the
path of those taking on the roles of seven children.
It is not a question of the actors just playing the parts of seven-year-olds
- they have to almost become children if the audience's credibility in the story
and the action unfolding on stage is to be maintained.
Fortunately Canterbury Players managed this and the acting from all seven was
particularly strong with no weak links. Especially impressive were the facial
expressions and exaggerated movements, which are so typical of children.
Although, on the face of it, a play about innocence, childhood and games, the
play carries much deeper and thought provoking insights into the way children
behave and why.
We see them at play, but their make-believe conversations are often a mirror
image of those heard at home from their parents. And thoughout we are shown,
by the children's behaviour, the way the human mind and emotions work and the
sheer cruelty that can result. This is no romanticised view of childhood and
this came over convincingly in the performances by all the actors - Sid
Moon, James
Newberry, Ed Clark, Laura
Brown, Katherine Durio,
John Rye and Samuel
Stolton, who took on this difficult task and rose to the challenge.
Derek Standing's simple
and effective set also worked well.
Sponsor:
CATHEDRAL GATE HOTEL: You
too can rest where pilgrims did before Blenheim, the Boyne or even Bosworth
were contested.This ancient and modern hotel provides city centre comfort from
which to brave re-enactments from all ages, even unsettling ones like "The
Birthday Party", assured in the knowledge that a hospitable welcome awaits
you on return. Twisting passageways, low beams and just the occasional ghost
lend drama to the experience, as do the stunning Cathedral and Buttermarket
views. 27 well appointed rooms, Bow-Window restaurant and a cosy bar for that
post-performance palliative. Prices from £22 per person (15% preferment)
on presentation of the programme for "The Birthday Party".
Contact Cathedral Gate Hotel: 36 Burgate, Canterbury. Tel: 01227 464381
or email cgate@cgate.demon.co.uk
The Cathedral Gate Hotel have kindly handed their sponsor's tickets for "The
Birthday Party" back to the Players, for use by drama students and others
who might otherwise not have been able to attend.
Drunken rivals left audience captivated.
Audiences at this "amoral and disgusting" play will find
little to offend in the 21st century, but delicious frissons of
sexual anticipation were gloriously maintained in this production.
Despite two married friends' shared goal of rekindling passion
with their mutual ex-lover Maurice, they were given distinctive
individual personalities.
Anne
Hancox made Julia largely confident and serene, while Samantha
Grant's Jane was highly strung and mildly hysterical.
Of the supporting roles, Jim
Ackhurst played Julia's husband Fred with gentle reasonableness;
and Andreas Lowson
as Willy (Jane's husband) reflected the suavity of Coward himself.
Mark
Smith as Maurice, tantalizingly appearing only in the final
scene, gave the ex-lover all the Gallic charm needed for empathy
with the besotted ladies and Jill
Ackhurst's expressive facial and body language conveyed every
nuance of the maid Saunders' contempt for the gentry.
Derek
Standing's early modernist set, Susanna
Gerken's delightful costumes and Pip
Piacentino's skilled direction all contributed to a stunning
production.
But the greatest acclaim belongs to Hancox
and Grant for their
outstanding performances as the two ladies whose transformation
from sophisticated wives to hilariously drunken rivals so captivated
everybody.
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| Noel Coward's
"Fallen Angels"
performed by The Canterbury Players
at Whitstable Playhouse
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Reviewed by:
Delia Dengeon.
Kentish Gazette.
Thursday March27, 2008. |
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OUR SPONSORS FOR "FALLEN ANGELS" WERE:.
Jesters.com
PH Accountancy.
Top of page
Woody Allen's "Play it again, Sam."
Playing it again for the laughs.
Review by Elaine Godden, for the Kentish Gazette, 06 December, 2007.
RELUCTANT hero Allan Felix "plays again" scenes from his recent past
and rehearsals of his anticipated future in this comedy play.
Scraps of both interrupt the action and reflect his vivid imagination, richly
fed by the films he constantly watches, especially those of Humphrey Bogart.
It's no coincidence that Allan' name echoes the surname of the playwright Woody
Allen, wonderfully captured in this production by Pip
Piacentino, encapsulating Allen's personality, by turn self-deprecating
and Bogartesque.
Playing opposite Pip was Anne
Hancox as his best friend's wife Linda, conveying warmth and sympathy in
every movement and facial expression.
And Andreas Lowson
was suitably smooth as Dick, Linda's husband.
Derek Standing's set was
eye-catching, as were Susana
Gerken's costumes - and humorous too.
The lighting might have dealt better with the various imaginary appearances,
but such a slight shortcoming did not detract from the colourful, hilarious
and undoubted success of this production.
From JM, audience member: The play went very well I thought
and I was very impressed with the set. I think a really good level of detail
went into it and all concerned should be proud of their efforts.
Top of page
Directed by Pip Piacentino
and performed on 19, 20 & 21 April, 2007 @ The Gulbenkian
Theatre, Canterbury.
Would YOU like to tell us what you thought about the production? Please click
HERE.
| Peter Whelan's
"The Accrington Pals"
The Canterbury Players
Gulbenkian Theatre
|
Reviewed by:
Elaine Godden.
Kentish Gazette. |
|
"A world of women at war."
The effect of the First World War on a close knit group of women in a Lancashire
mill town is the focus of the play.
Peter Whelan's somewhat laborious setting out of their various situations and
his exploration of their frustration in the face of misinformation, as well
as their anxiety and grief, takes considerable time, contrasting with the following
act's shattering drama.
May, an ambitious stall holder is tortured by shame because of her love for
a young lodger who has now become a man. Her narrow upbringing adds guilt to
her confused emotions and she lets him go off to war, without consummating their
passion.
Sarah Gooch
played May with harrowing conviction and Ed
Clark as the idealistic, fresh faced Tom, reacted realistically with alternating
exasperation and tenderness. As the hideous, snarling ghost at the end of the
play, he was equally as compelling.
The most powerful acting was from Sharon
Gair as Annie, despite some awkwardness as she manhandled her son, Reggie.
As the bitter wife of the naive and gentle Arthur her twisted features, spat
out lines and final, anguished breakdown, were disturbing to watch.
Josh Bushell
as Reggie, and Jim Akhurst
playing Arthur, were convincingly sensitive in their roles.
In Ralph's last letter from the Somme, to his lover Eva, Mark
Smith demonstrated spiritual and physical agony, while Eva's early loyal,
later ambivalent relationship with May, were portrayed with warmth and perception
by Dee Neligan.
Louise Gibbins
gave uninhibited realism, candour and dry humour to her role as Sarah, and Victoria
Pym as Bertha was charmingly young and gauche.
Sergeant Major Rivers was played with unusual sympathy and a commanding presence
by Mike Rivarno.
Derek Standing's sets were
professional and worked faultlessly, and the special effects of smoke and thundering
guns gave a terrifying reality to the scenes at the Battle of the Somme.
This was a resoundingly successful production of a play that could, without
the company's dramatic skills, have floundered in the first act.
Joint sponsors for "The
Accrington Pals":
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