Association of Community Theatre

THE LATE MRS EARLY

by Norman Robbins

H.A.T.S

 

I was looking forward to seeing this “old timer”, first produced in 1976, and to learning that there is still a place for such plays in our modern theatres years after my sallow, juvenile steps first nervously trod the boards.  The company I joined didn’t choose the play after reading it, but somehow the title stayed with me.  I wonder what audiences really thought in those far-off days, but there was nothing to wonder about with your production – I felt it was “spot on” – an interesting, well played and directed, occasionally gripping, full of humour, piece of theatre, and one which kept the audience glued to their seats throughout.

 

Terry Early’s announcement that he intends to marry Susan Rickworth, rouses the fury of his formidable mother. Alice, because of the previous relationship she had had with Reuben, Susan’s father.  Terry’s father, Sam, very much in favour of the wedding, is caught up in the middle of this, and his piece of mind, together with that of his close mate, Joe, is shattered.  Alice’s sudden demise, following her handling of a faulty electric kettle, lent her by her inquisitive neighbour, Mabel, seemed a grievous yet nevertheless opportune solution to the problem.

 

However, when Alice returns as a vengeful ghost, visible only to Sam, even more formidable than before, much drama takes place between both families, in which Mabel is more than just involved, before Alice’s ashes can be persuaded to lie quietly in her urn, until Sam can join her.

 

Your set showed a room, typical of its period, with doors SL and R, and a modicum of furniture, all essential for the action involved, but leaving plenty of space for the cast’s uncluttered movement, and the view of a splendid terraced house opposite, on the other side of the street, painted in exquisite detail.  Fireplace DL, dining table and chairs SR and superbly painted pictures, reminiscent and redolent á la Lowry on the walls, painted by David Bramwell.  I can’t eulogise accurately enough the quality of his work and the effect it has on your sets.  You have an excellent set design and construction team- it is just one feature of your work in drama generally, and one can appreciate what he brings to that feature of your presentations.  Congratulations and well done to all involved.

 

This is a very long play – mind you, a lot has to happen. It is so full of situations,  problems, consultations attempts to find solutions, and events; then happenings ensuing from the busy plot that I suppose it is bound to be.  In essence, it covers four scenes and we could well expect to have been watching long after ten o’clock.  I read somewhere once that if amateur plays go on after ten o’clock, you are asking for a problem of some sort.  It meant from the audiences’ point of view.  With this in mind, Garry made some judicious cuts and though we were still watching after ten, he had done it so well and so cleverly that certainly, from my point of view, interest never flagged and the story retained it fascination.

 

It is too simple to write about this play being the story of a dysfunctional family ruled over by a dragon of a woman.  There is much more to it than that.  Human relationships; the past and what wasn’t known about it; where do we go from here, what has made us what we are and how do we change it; do we want to change it and what does the future hold for us all?  All of it was laced by the cast with real   feelings and a large sprinkling of humour. They had to believe in their characterisations and work essentially as a team. There were no individuals as all that was said and done affected them all, in some way or other, but ultimately saved by their senses of humour.

 

Lara Daintree played Alice Early with the air of a commander-in-chief, unused to being opposed; never to be argued with; decision maker in all eventualities; no respecter of feelings; not given to sentiment and something of a dragon all round.  Lara brought all her experience and ability to bear on this somewhat unsympathetic role.  As a ghost she still ruled the stage but we could detect a lessening off, and a calming down, somewhat gradually, of her emotions, as if she had been responding to some instructions before being released back to Sam.  The final scene with Sam before being summoned back, was played so tenderly and movingly by both of them that it brought to a fitting end the story of such machinations throughout. We all went home happy.

 

Sam, James Eckersley, played the father with commendable dignity and grace, considering what he had to go through.  Faced with all the problems he had, we admired him for the steadfast way he never wavered in his support for Terry and his wish to marry Susan.  He played Sam not only with dignity but with compassion and humour. All this despite being in a position of not knowing what to do, and needing constant re-assurance.  His reaction to his ghostly wife was memorable and both Lara and he carried the weight of this long, involved story with realism and belief.

 

Roy Eckersley was Terry, Alice and Sam’s son. He played his role with feeling and commitment.  Believable and dedicated in all he did, never once did he show doubt or uncertainty in his amorous attachment to Susan, and his integrity saw him through the problems and vicissitudes that beset him.  We were all pleased for him when it all came right in the end, There can’t be many plays in which father and son are played by twin brothers.

 

Jeanette Thornley played Susan, his girlfriend.  It is a fairly undemanding role and is one that can be taken for granted, but Jeanette made it mean a lot.  She showed us that she was a woman with her own ideas but nonetheless showed much love and support for Terry.

 

Debbie Dickerson was neighbour, Mabel Sutton, who was a lovable character, but inquisitive with a disposition to be involved in everything, including the unfortunate loan of the kettle.  Debbie played with affectionate humour and her entire characterisation and movement were original and real. She is a born story-teller and there was a feeling of sunshine whenever she was on, but could one deal with her as a close neighbour?  Well done.

 

Joe Gittings was Sam’s mate and was played by Jonathon Coupe.  Involved in every second he was on stage, and even when he had no dialogue, he listened avidly, his face reflecting his thoughts which he made so easy to read. There was no doubt whose side he was on.  We all need such a pal as Joe in our lives.  Well played.

 

Phil Bradbury and Lindsey Andrews played Reuben and Lucy Rickworth, Susan’s parents, with grace and dignity despite former history.  There was a feeling of class, calm, and all’s well with the world about them, and, of course, it was.  Through them they showed a good future life for Terry and Susan, and also, perhaps happier times for Joe.  Well characterised, both taking opportunities to show their sterner sides.

 

Congratulations to Garry Blair and his assistant Oliver Bean.  Such attention to detail as they welded the whole production into a very believable, “preposterous” situation in which the whole cast obviously enjoyed what they were doing working as a team, creating what appeared to be a real life situation with the most frightening storm I’ve ever heard.  Well done all involved.

 

Thank you for your welcome and warm hospitality. Happy playmaking