Venue: The Stanley
Theatre Dates: 6 March - 6 April 2003
Reviewer: Jane Penistan
Shelagh Stephenson's view
of family life in Northern England in 1998 is hilariously witty and
irreverent. It is also a revealing an in-depth study of family relationships.
Each of the characters in the play is well defined and developed, and
their interactions abrasive and inflammatory.
The death of their mother
brings together for the funeral three adult sisters returning to their
shabby childhood house, and evokes their juvenile, adolescent memories.
Their diverse, real and imagined grievances are brought to light as
the three sisters, now in differing circumstances, sort out their mother's
belongings. Each article raises a particular reminiscence. Modeling
maternal clothing gives rise to huge amusement, but the contents of
a box of letters and papers raises poignant memories and revelations.
Bill Millerd has directed this production with an unerring hand, to
which his cast bears witness. The clear definition of personality and
development of character are fully realized. The interplay of the siblings
and the men in their lives sparkles with telling dialogue tossed back
and forth with rapidity. But there are also quiet moments where the
pace slows to allow breath to be caught and more rational thinking to
prevail.
Vi, the mother, is presented
in memory and flashback by Linda Sorensen as the life-loving parent
who, under her frivolity, tries to do her best for her children. As
Mary, Megan Leitch is the intellectual member of the family of whom
the other sisters are jealous, and who has her own dark secrets always
preying on her mind. Teresa is the middle daughter who marries for security,
but who stays at home and looks after her aging mother until her death.
Played by the incomparable Gabrielle Rose, she feels martyred by her
family. Leslie Jones is Catherine, the youngest of the family. She is
obsessed by health care products, organic food, and fear of illness.
She is also still an adolescent indulging in outrageous fashion and
fits of hysterics.
The two men-- Mike, Michael
Ryan, and Frank, Kevin Williamson,-- are philosophical about their roles
as lover and husband, but both want more from their relationships with
this dysfunctional family. All the cast play together well and their
performances have an integrity which brings credibility to the presentation
of this highly entertaining play.
Pam Johnson's wallpapered
bedroom furnished with 1930's suburban furniture could not have been
better suited to the text. Great attention has been paid to the details
of clothes and properties, both in the earlier dresses and accessories
of the mother, and in the modern up to the minute teenage extravagances
of Catherine.
So far this is the best
production of this current season of The Arts Club Theatre Company.
Congratulations to Bill Millerd and his cast and crew for their splendid
production of this excellent play.
© 2003,
Jane Penistan
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