Tag Archives: Anita Harris

Chilling on a Summer Night


Grand Theatre, Wolverhampton, Tuesday 16th July, 2013


The Ian Dickens Summer Season draws to a close with this fourth offering, an effective chiller from 1930 by Emlyn Williams.   It plays out like a murder mystery, typical of that genre, but there is a supernatural element to proceedings that turn it into a ghost story towards the end.

The plot concerns an unusual party that takes place on stage of an empty theatre, rented for the occasion of Lord Jasper’s 50th birthday.  According to the terms of a will, if he can survive until 11 pm, he stands to inherit a couple of million quid.  Lord Jasper is something of an expert in all things occult and the theatre is reputed to have its own ghostly apparitions – hence his choice of location.  Also in the running is Jasper’s only surviving relative, a mystery man who will inherit if the old boy doesn’t make it to midnight…

It’s a creaky old plot but once it’s up and running you go along for the ride, thanks to the performances by a strong ensemble of players.  Paul Lavers is dashing and flamboyant as genial eccentric Sir Jasper with Nicola Weeks very good as his young bride.  It seems to me Weeks is more suited to these period roles than some of the more contemporary comedies I’ve seen her in.  The bride’s mother is the marvellous Anita Harris, looking glamorous and elegant, balancing superciliousness and desperation, as she tries to protect her daughter’s interests.  Also in the mix is handsome young hero Jimmy North (the likeable Mark Martin) who worms his way into the party – as a character, he fizzles out in that he is not part of bringing the murderer to light, but that’s all part of how Emlyn Williams plays with the genre.  I was impressed by Karen Ford as Mrs Wragg, a character part of strung-together colloquialisms, managing to keep on the right side of gor-blimey; she adds a touch of levity to proceedings and also helps to build the spooky atmosphere.  Poppy Meadows adds to the tension as jumpy Miss Groze, although we discover the reason for her nervousness is nothing to do with the theatre ghost…

Of course, the mysterious relative shows up.  Oliver Mellor dominates his scenes as Maurice Mullins, whose camp, extrovert exterior masks a Machiavellian heart, playing him with energy but keeping the melodramatic elements of the role toned down somewhat.  Any pretence at a whodunit is swept away and the play shifts gear.  Supernatural elements are brought to bear to expose the killer – like Banquo’s ghost at the dinner table.  Directors Ian Dickens and David North crank the tension slowly and play the dramatic irony to the utmost but the first appearance of the ‘Woman’ (Melissa Thomas) could do with being a touch more unworldly.  Good use is made of silence (when the audience is not coughing itself inside out, that is!) and Steve Chambers’s sound design adds to the sense of foreboding very effectively.

It’s an old-fashioned piece, a little longwinded in places, but it’s handled well and bears up in this day and age when we are more accustomed to flashier special effects and faster-moving stories.


Smashing Widows

Grand Theatre, Wolverhampton, Wednesday 27th June, 2012

Ivan Menchell’s play features three Jewish widows in New York so you know as soon as the curtain rises that the dialogue is going to be laced with a particular kind of humour. The women kvetch and take verbal swipes at each other in a gently amusing manner.

There is Lucille (Shirley-Anne Field) who is all fur coat and high heels, claiming to live life to the fullest by ‘playing the field’. There is Doris (Anne Charleston – Madge off of Neighbours) who is still hopelessly devoted to her late spouse to the extent that it impinges on her every mood. There is Ida (Anita Harris who must be gene-spliced with Peter Pan) who is willing to make tentative steps into moving on with her life. They make for an amusing trio and pleasant company.

And that’s about it.

The plot doesn’t really go anywhere. Every month the women meet at Ida’s home and travel together to the cemetery wherein their husbands are buried. They meet widower Sam (Peter Ellis, whose Noo Yoik accent was the most consistent) and he and Ida embark on a cautious romance. This budding relationship is thrown into brief jeopardy when the other two women warn him off, but after an almighty piss-up at a friend’s (offstage) wedding, recriminations and reconciliations are made. It takes the death of one of the women to make the survivors disband the Cemetery Club and get on with their lives. It has taken them long enough.

Shirley-Anne Field is very good as glamorous but brittle Lucille. Anne Charleston has a voice like peppered chocolate, rough and rich and well-suited to her sardonic character. But for me the real treat was seeing Anita Harris sparkle as the cautious, nervous Ida, suddenly finding herself an awkward schoolgirl again as she comes out of her shell with Sam.

Debbie Norman’s cameo as Mildred, Sam’s alternative date to the wedding, is such a striking portrayal you wonder what Sam sees in her. Her laugh could chop liver and her scene injects energy into the second act.

All in all it was a pleasant if inconsequential couple of hours. I was glad to see roles for older actresses that don’t involve them posing for novelty calendars or learning how to pole dance.