by Alan Ayckbourn
Two and a half couples gather at an executive style house in the 1970s for a tea party they would all rather miss. There are Paul and Diana: he’s a young, successful, squash-playing, businessman with no time for emotions and even less time for his wife, whose place is definitely in the kitchen, or their young children (shunted off to boarding school). There’s John, older and much less successful, hopelessly trying to win a contract from Paul; he’s recently married a younger, glamorous wife, Evelyn, who is already disillusioned by her husband, marriage and their baby. And there’s motherly Marge, always trying to help and desperate for a child, but having to make do by infantilising her husband who, as usual, is ill in bed.
They have arranged this tea party to welcome back Colin, an old friend who moved away two or three years ago but has returned to the area after his fiancée was drowned in an accident. As they wait for his arrival, none of the others are sure how they will cope with his unhappiness...
A familiar Ayckbourn picture of suburban angst and pretension, where superficial competence barely hides hopelessness and despair – while managing to be also very funny. Unlike many of his plays, though, it’s also very suitable for online performance with a single set and all the action taking place in real time. Some of the attitudes might seem dated – surely we have made some progress in gender understanding in the last fifty years – but it’s still surprisingly relevant today.
This amateur production of “Absent Friends” is presented by arrangement with Concord Theatricals Ltd. on behalf of Samuel French Ltd. www.concordtheatricals.co.uk
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CAST
Evelyn
Glenda Plumari
Diana
Ali Patrick
Marge
Clare Moss
Paul
Elliott Willmington-Holmes
John
Tobias Christopher
Colin
Jamie Goodliffe
Understudies
Anne McCarroll | Richard Whitehorn
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"Absent Friends" by Alan Ayckbourn
Lace Market "Virtual" Theatre
Colin, a friend who has been absent, comes back to his circle of friends, who are worried about how to approach him over the death of his fiancée, Carol, who has drowned. Diana organizes a tea party for Colin. Ayckbourn's characters are tense, close to bubbling over, due to a secret that two of the group have not hidden very well. When Colin arrives, heightening tensions within the group, they all try hard to be friendly towards him. Colin seems ecstatically happy, despite his loss, while the rest of the party are rapidly approaching breaking point.
Ali Patrick (Diana), who made me do a double-take as I have not heard Ali quite that posh, and Elliot Willmington-Hughes (Paul) both act their socks off as the chalk and cheese couple. But then again the same phrase could be focused on Glenda Plumari (Evelyn) and Tobias Christopher (John). How these pair of Ayckbourn's couples ever first attracted each other is a mystery, but that is the joy of Ayckbourn's writing and characters.
I love the chemistry between Diana and Paul with the snide comments from Diana and Paul's attitude towards Diana. there is one scene in the second act involving a jug of cream which, I am sure Ali would have loved to play out on stage. I won't say what it is but if you know this play, you may just guess what happens.
I use the word "chemistry" and that is what makes a play, a character, a performance, a scene believable. When you are on your own in your own little screen, as the pandemic has forced actors to do, chemistry will not be easy to bring, but all six of these actors created chemistry, and while they were all apart, they brought the characters and the play together.
Glenda's portrayal of Evelyn is wonderfully under-played, very matter of fact which in itself presents even more subtle comedy. All gum chewing, raised eyebrows and "Women's Realm" magazine reading, half the time unaware that she has a young baby, "Wayne", to tend to. You just can't beat a bit of well acted droll.
John is ever the optimist and also likes a bargain which gets on Evelyn's nerves. He is forever trying to win Evelyn's respect but this wears thin throughout the play. he knows the big secret within the play, which makes him come across as a bit of a doormat. I can imagine Tobias had great fun playing John, because it was great fun watching Tobias in this role.
Clare Moss (Marge) reminds me of a cross between Eliza Doolittle's poor cockney flower girl and Sybil Fawlty, strangely delightful, and subtly comic. Just the right mix.
Jamie Goodliffe (Colin) wins the award for the best 1970's look with his sideburns, cardigan, brown, possibly corduroy, trousers and large 70's patterned tie.
All actors manage to bring out the tension and awkwardness of the situation, which also brings out the brilliance and humour of the script.
There has been a lot of work done with the continuity and positioning of the actors and props as you watch this production. The actors face each other when they speak to each other and the passing of the sandwiches are done expertly to make sure that if the plate is passed from the right side of the screen, the plate is collected from the left side of the other screen. A simple thing that makes the fluidity of the production really work.
The technical side of the production has been done really well, creating a smooth visual presentation. With the action being set in real time, this play is also perfect for a Zoom production.
I've seen "Absent Friends" before on stage and love it. This performance was just as good as seeing it on stage. Zoom teaches the viewer to use their imagination, almost like listening to a radio play, and I like to flex that particular muscle when it's called for. It almost forces the players and the viewer to merge to create perfectly the image a stage performance in your own home.
Directed by David Dunford
Technical Director is Simon Carter
Production Manager is Peter Konowalik
Wardrobe Jane Herring and Linda Croston
Props Lesley Brown
A classic comedy performed with style, retaining every droplet of humour created by a master writer. Even though the play is not new to me, it still extracted chuckles and smiles.
Read the original article here.
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