Past Productions
March 2010
"The Memory of Water" directed by Rosie Purchase
There was a tidal wave of emotions – and some extremely strong performances – throughout Arundel Players’ production of the Memory of Water.
The award-winning tragic-comedy traces the story of three disparate sisters brought together by their mother’s death. Streams of black comedy and pathos ebb and flow side by side as the three women share their differing recollections of family events and squabble over what actually happened.
Resentful Teresa (Liz Lawrence), the eldest daughter, never ceases to remind her siblings she had borne the brunt of caring for their mother once Alzheimer’s had set in, and that she has now carried the burden of making the funeral arrangements.
Then there’s attention seeking and delusional Catherine (Deborah Addicott), the youngest and most obviously vulnerable. Self-centred and insensitive, her memories of family events and her sense of always being sidelined are perhaps the most distorted of all. Middle sister Mary (Tracy Clayton) is a doctor, involved in a long standing affair with a married man, a fellow medic. Outwardly the most stable of the three, the secret she has struggled to conceal for many years is the saddest of all.
The first act which sets the scene for the complex relationships and how the women come to terms with the death of their parent is strong enough in itself, filled with love. Laughter and tears and even anger, but it’s in the second act the play really comes into its own. It begins with an enormously powerful scene between Mary and the ghost of her mother (Chrissy Horgan), both of them stunningly portrayed, and goes on to reveal lies and long-buried secrets.
As the sisters reveal their insecurities, and battle their demons, they receive strong support from Mary’s lover, Mike (Richard Greenhorn) and Teresa’s husband, Frank (Roger Booth).
This journey into the bywaters of deceptive memories and rivalries is a challenging play, but on to which the cast rose magnificently.
Jo Rothery The Chichester Observer – April 2010
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January 2010
"Relative Values" by Noel Coward - directed by Margaret Mason
'A drop of snowy weather will not dampen spirits of Arundel Players.'
The show must go on – and the Arundel Players made sure it did at the opening night of Relative Values on Monday evening, despite the horrendous weather which had disrupted their final rehearsals. Bravo to the determined and talented cast and to the hardy souls who braved the icy streets of Arundel to reach the theatre. “It’s been nerve-wracking, but all the cast have been marvellous,” said director Margaret Mason. “The rehearsal last Tuesday had to be abandoned when the heavy snow started to fall, but although most of the cast live outside Arundel, they all managed to get here somehow for the other rehearsals and were absolutely determined we should go ahead.” Everyone’s efforts were amply rewarded with the lively performance of Noel Coward’s classic satire of snobbery – which continues to January 16th.
One of the Master’s less well-known works, with Margaret at the helm, it was a delightful depiction of an aristocratic family and their domestic staff steeped in the traditions of a social order which was rapidly being eroded. Both classes feared the consequences of the breakdown of social barriers, reflected in the betrothal of the son and heir to a ‘common, painted hussy’ from Hollywood, regarding it as another nail in the coffin of their well-ordered lives. The Arundel Players production has been cast to perfection, each member totally in character to act out the nuances of the inevitable clash of cultures in the tale of ladies’ maid Moxie whose life is turned upside down when she realises the new fiancée of her mistress’s son is her long-lost film star sister.
The undoubted star of the show is Dorothy Olney as the matriarch of the aristocratic Marshwood family - her timing is perfect as she delivers a host of sardonic bon mots, while Roger Menhenett is equally impressive as Crestwell the butler. Richard Greenhorn comes over well as the calming presence of the Hon Peter Ingleton, Tracy Clayton tackles the role of screen goddess Miranda Frayle with great gusto and Maureen Haynes agonises convincingly over her plight. They are superbly backed up by the rest of the cast and this wonderful romp through the social revolution of 1950s Britain is complemented by a superb set and stunning costumes.
Jo Rothery Chichester Observer – 14th January 2010.
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November 2009
"Hedda Gabler" by Henrik Ibsen - directed by Paul Ward
Arundel Players did full justice to Ibsen’s disturbing and dramatic tale of a discontented and manipulative woman for whom mundane domesticity can never be enough.
The play opens with the warmth shared between doting aunt Juliane (Micki Darbyshire) and her bumbling newly-wed nephew George Tesman (Neill Blume), just returned from a six-month honeymoon with his bride, Hedda.
That warmth rapidly dissipates with the entrance of Hedda. Beth McGee-Russell ably embracing the role of one of the most unlovable yet intriguing women in the history of theatre. You quickly realise this is not simply a chapter in the life of a bored housewife whose husband is immersed in dull academic life, but a self-obsessed woman who is riddled with frustration and jealousy. Beth McGee-Russell plays the chilling role of the anti-heroine with impressive insight and flair.
The rest of the cast also capture their characters to perfection, and special mention must go to Philip Amor as a splendidly lascivious Judge Brack.
Jo Rothery Chichester Observer – 5th November 2009
August 2009 - Arundel Festival Production
"The Importance of Being Earnest" by Oscar Wilde, directed by Philip Amor.
One of the finest comedies in the English language - the very best, according to some - is Arundel Players’ contribution to the town festival.
Their production of Oscar Wilde’s masterpiece in on view at Prior Playhouse, where it is attracting full houses. But, if somehow you can still get a ticket, grab it. For this elegant, high comedy of manners, morals (and errors) receives the immaculate treatment it deserves under the careful direction of Philip Amor. He has wisely decided not to tamper with something that is already perfection and the result is an evening of sparkling entertainment.
Not only are there high-standard performances by a well-chosen cast, with all that polished wit and sarcasm in ace and those oft- quoted epigrams delivered to full effect.
The show has also been staged on a fairly sumptuous scale, with attractive sets (designed by Allan Farrow) and eye-catching costumes (check out Lady Bracknell’s extravagant hats).
Muriel Carnegie is entirely successful at making Lady Bracknell the formidable character that Wilde undoubtedly envisaged. She is not on stage a lot, but is so commanding when she is. Peter Coxon (Jack) and Matthew Hughes-Short (Algernon) both give the self-assured performances essential for firmly anchoring the production. They do excellent work and have delightful stage partners in Beth McGee-Russell (Gwendolen) and Sarah Blackford (Cecily). Outwardly demure, but suppressing ardent feelings (for the rector, no less!), Miss Prism is joyously brought to life by Blanche Robinson. Canon Chasuble, barely hiding his own amorous feelings under his dog collar, is a role quite safely entrusted to Barry Jarvis, who has more than 40 years in amateur and professional theatre to his credit. As portrayed by David Blackford and Derek Billington, the manservant (Lane) and the butler (Merriman) remain aloof and properly dignified throughout.
Brian Shewry The Littlehampton Gazette – August 27th 2009
It was a very important milestone in Philip Amor’s life when he directed the Arundel players in The Importance of Being Earnest as part of Arundel Festival – and what a superb job he made with this production of the ever popular classic by Oscar Wilde. It was the first time Philip had directed a play which he had not written himself, a fact he had not confessed even to the cast until almost the end of the week long run at the Priory Playhouse.
But he did this wonderful comedy of manners full justice, his unerring eye picking out a beautiful cast who gelled magnificently along with simple yet elegant stage sets and lighting which set the scene of genteel Victorian life to perfection.
Philip wisely decided on a traditional approach to Wilde’ superb play – after all, the script itself was a defining moment in creating a highly amusing parody of the English upper classes of the time, bitingly amusing yet affectionately making fun of them with light- hearted satire and sparkling wit. A successful production however, however, relies on the strength of the characters, and here the director chose wisely and well. There was a tremendous between them all which shone through every scene, especially in the duologues between various different pairings. This was apparent right from the start as the two young men about town, Algernon Moncrieff (Matthew Hughes-Short) and Jack Worthing (Peter Coxon) set the scene by revealing they had both invented imaginary characters to aid them in avoiding distasteful situations. It’s hard to believe that Matthew is only 19, as his performance displays a high level of maturity and confidence, while Peter demonstrates great stage presence and style.
Gwendolen, his intended is played by Beth McGee-Russell, excelling as the elegant but delightfully dippy young lady. At the heart of the play, of course, is Gwendolen’s mother, the formidable Lady Bracknell.
Philip made an inspired choice in Muriel Carnegie. She strides onto the stage like a galleon in full sail and delivers Wilde’s acerbic bon mots with perfect timing and aplomb. As Jack reveals the mystery of his parentage her responses, uttered in a tone of stunned stupefaction, are among the evening’s great comic moments.
Jo Rothery Chichester Observer - September 3rd 2009
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June 2009
"My Own Show" By Lesley Bruce, Directed by Penelope Billinghurst
Witty take on fading star
This satirical piece directed by Pennie Billinghurst with a cast of just four mature ladies + one young man, takes place in a smart sitting room that doubles as the TV stage set for Frankly Fay.
Fay, a cold-hearted fading daytime TV celebrity has just returned home, with two of her old school friends, after starring in This is Your Life. The show has not gone well, with a distinct lack of eminent guests, and Fay is in no mood to party! Their post-mortem on the evenings events turns to reminiscing about their childhood bullying of a former school pupil – Bollards (Caroline Pollard). An unexpected knock on the door and a larger-than-life highly excitable Bollards appears, along with her inept son Allan, he being the result of her marriage to the geography teacher! The four of them discuss their achievements in the world and the suspicious circumstances surrounding Bollards widowhood give Fay the idea to try and turn around her failing ratings by inviting Bollards to appear on her TV show. Caroline is an immediate success, but then begins to systematically take over Fay’s life, home, clothes and ultimately TV show!
Rosey Purchase (Caroline Pollard) has returned to the spotlight and shone throughout as she played this complicated personality, with great aplomb. A stalwart member of the Arundel Players, taking on many roles from Director to back stage, but this performance would suggest she “tread the boards” more frequently. Muriel Carnegie (Fay) gave a great rendition of the spoilt over-indulged declining star with her snappy comments and lack of loyalty to her friends. Andre Bougard in the role of the young man Allan was memorable and entertaining with his sudden unexpected outbursts. Gillian, the brittle disgruntled head hunter and Jude the dowdy academic, were played by Margaret Mason and Hilary Riddell respectively.
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April 2009
"In Confidence" By Deborah Amor
Four very different confidential snapshots
Deborah Amor is both the writer and director for the Arundel Players latest production. She has been influenced by Alan Bennett’s Talking Heads and for the past few years has been successfully writing monologues, as her preferred genre. Those chosen depict four wildly differing personalities and are written with great depth and perception. Her attention to detail and observation is both humorous and poignant. Using a bare set and merely a chair with the addition of a few minimal props, the spotlight was clearly on the solo performer.
The first Getting the Job Done features Fenella Watson, a brassy single 30 something office worker. She begins by relating her lunch date with a female friend and talks us through her previous romantic liaisons, her need for a ‘tame handyman’ and the ups and downs in her failed relationships. Catherine Wildsmith, making her debut with the Arundel Players, took on the role of this lively young woman and gave a good performance, recounting her witty and comic carnal experiences.
Next up was Tie Break ~ an ambitious late 20’s sporty estate agent Anthony Pennington, currently dating a gorgeous older woman but fancied by both his boss and her young daughter. Recounting his relationship with his mother through to a horrific and unexpected ending. Played by Toby Pardoe, who excelled as the charismatic character ~ totally bringing the young man to life, not only with his amusing anecdotes but also such pathos as the hideous events unfold. Toby is a regular with the company and remains the sole performer of this particular monologue.
Ladder of Success sees Gary Baldwin, an uninspiring window cleaner with a fascination for Shakin Stevens. He talks us through his ambitions, unsatisfactory love life and a slot at the local talent show. Yet again an unfortunate conclusion to his situation. Roger Booth, who has been involved with many local theatre groups over a period of years, does justice to the part and gives a moving portrayal of this rather pitiful and inadequate man.
Lastly comes Holiday of a Lifetime featuring Cynthia Felton. She has just returned from a trip to Tenerife and discovers her elderly bed-ridden mother has died during her absence. Before unpacking she reminisces over her life, the injustice and resentment she feels for her overbearing father who has deprived her of marriage and a family. She ultimately becomes the carer to her failing parents and once more there is a sinister twist. This was an excellent performance by Penelope Rooth, who has a wealth of theatrical experience. She revelled in the part as the devout daughter manifesting into the bitter resentful hard done by spinster!
An entertaining production of some well written narratives.
Jill Lawrie
March 2009
"Art" by Yasmin Reza
"Trio of players create masterpiece"
Housed in the western wing of a thirteenth century priory, this gem of a theatre is the home of the Arundel players, an innovative group producing five varied productions a year, in this intimate but beautifully restored building.
Art has had tremendous international success and is a marvellously simple story about art and friendship. Serge buys a modern white painting for a considerable sum (200,000 French francs) which is basically a canvas 5’ x 4’ with a few white lines! First he shows it to his friend Marc who ridicules the purchase and secondly to Yvan who to a degree plays along with the pretence. As the dialogue flows the age old question ~ “What is art?” is pushed to its limits until the painting is almost irrelevant and their actual 15 year friendship is on the line! Unbelievably the tempo hots up to such an extreme even Yvan’s impending marriage arrangements are condemned and pulled into the fray!
Director Margaret Mason, using a minimalist modern living room as the set, has excelled with this very entertaining but challenging production. Richard Greenhorn (Yvan) a regular with this company, was brilliant as the ambivalent friend whose personal life gets dragged into the more heated moments, his admission to 6 years of therapy, a scuffle and ultimately tears! The competent Stuart Smithers (Serge) brought great character to his role of the aloof art loving dermatologist, and new comer David Williams (Marc) as the straight talking aeronautical engineer was equally impressive. The chemistry between these three as they bounced from criticism, compassion, slander and eccentricity was palpable and the inspired ending was much applauded by an appreciative audience.
Further productions include In Confidence (by Deborah Amor) 22-25 April and My Own Show (by Lesley Bruce) 22-27 June and will be eagerly awaited.
Jill Lawrie
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