This Charming Man

NIGHT MUST FALL

Belgrade Theatre, Coventry, Wednesday 28^th September, 2016

 

The Original Theatre company, purveyors of classic plays, now brings us Emlyn Williams’s 1935 thriller, in their solid and dependable – and entertaining! – fashion.  Directed by Luke Sheppard, the production is not short on tension and suspense, even if you know who the murderer is – or perhaps especially because of this knowledge.  Sheppard also brings out the humour of Williams’s script via an ensemble of superlative character actors.

Gwen Taylor stars as the irascible Mrs Bramson, a grumpy curmudgeon who has to pay people to spend time with her.  This includes her niece as well as the domestic staff.  Taylor brings energy to this hypochondriac harridan and we enjoy seeing her taken in when psychopathic Dan plays to her vanities.

Niamh McGrady is bookish niece Olivia, the voice of reason in the piece, although she is seduced by the dark side into acts of moral ambivalence.  Alasdair Buchan’s Hubert, a hapless suitor, is all plus fours and bluff bonhomie, while Daragh O’Malley’s Inspector Belsize has an easy powerfulness to his presence.  Anne Odeke is good fun as Nurse Libby in her brief appearances, while Melissa Vaughan’s housemaid Dora, a girl ‘in trouble’ thanks to the aforementioned psycho, is chirpily melodramatic.  Most enjoyable though is Mandi Symonds as housekeeper/cook Mrs Terence, an hilarious counterpart to Taylor’s old battle-ax.

It is Will Featherstone who commands the attention as the enigmatic and charming chancer, Dan who, having got Dora up the duff, insinuates himself into the household as a companion/carer for the old woman.  On the surface, Dan is a lively, funny presence but Olivia’s suspicions are aroused at once.  Featherstone gives us charm and an undercurrent of threat, breaking out into flashes of insanity and derangement.  It’s a compelling portrayal of a psychopathic character – pre-Hitchcock, it has to be noted – and also Williams’s script seems to be a precursor of the comedy of menace of Harold Pinter, with its naturalistic turns of phrase and its violent outbursts.

The production grips, amuses and thrills, showing the play still works like a charm and with its theme of our fascination with murder, it is still current, both admonishing the audience’s appetite for such subject matter and giving us exactly what we want.

Will Featherstone as Dan (Photo: Alastair Muir)

Chilling on a Summer Night

A MURDER HAS BEEN ARRANGED

Grand Theatre, Wolverhampton, Tuesday 16^th 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 50^th 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.